《本命记》诗选18首
诗歌：温青
评论：敬文东
英译：林巧儿
欠下的命数将给出余荫
四十八年用去的命运
将一个孤独的人赶到高岗上
他四顾无数个自己
用落叶妆扮长满风霜的围巾
站定在自己的边缘
等候欠下的命数给出余荫
这是一个吃下过无数运道的人
他养过一些悬崖
看它们张开大嘴徐徐吐出厄运
飘散在整个道场的迷雾
给出命定的结论
放出一个在诗书中欠下疾苦的书生
留下一个为命运打更的诗人
抖落聚于头顶的暗霜
第四次窥见本命
它正在繁华之上暗结霜花
一个下坡的人
向他招手，走向退场的路
他将提前打扫巢穴
为毕生的命运腾出悬挂之钩
结网为寒霜所爱
一些反复飞升的足迹
在镂空的时代
保留斑驳的迷咒
不能抵达的幽暗
在一个背负太阳的人身上
雕刻深入骨髓的歧途
而聚于头顶的暗霜
落成冰冷的花絮
在沉溺之地种下的宿命
游子有自己宿命的湖泊
在白云与淤泥之间
一些深沉的蔚蓝愈发凝实
它的色彩是一种痛
反复的荡漾，生长锐利的刺
跨越弱水三千
命定的成熟不断延迟
它给出无数沉溺的理由
并叠加一首暗自气馁的诗
一个偏执的栽秧人
对于稻穗的溺爱
无视所有的遁词
1
天赐突围者以倒刺自省
经过第四次锤炼
他将以何种形态吐露自我
倒刺深入突围的迷梦
那些频频律动的自省
由上天赐予
并摊开一路的疼痛
一句年近半百的诺言
一直生长在后脑的反骨池中
它拉近天地之间的距离
为一个隐姓埋名者把风雷打动
进入天堂的云路上
他把一些自我成长的秘密
慢慢放生
风雪掩去的斑驳抱守沉重
命运之外的一些收成
奖赏一个信奉劳作的人
一场场风雪，覆盖厄运的妄动
那些灵异的斑驳
抱守不存于世的沉重
他深知种子的背景
生于土地的宿命因传奇而永恒
借助生长的力量
他打开命定的屏障
为枯竭的命数加上厚重的一层
一个逃脱了风光的人
在风光中隐身于斑驳的阴影
他知道，最美的尘世
是偏居一隅的云淡风轻
.
伤害与护佑同时给予恩情
他感恩于那些伤害
如同护佑，平复伤口的过程
给予超拔的疼痛
在热火朝天的人世
可以泅渡无可躲避的寒冷
无论诬陷或者暴露
无论欣赏或者袒护
所有解逅的缘份都必须遵从
像拥抱爱那样接受恨
以鲜花作为伤口的笑容
这是最为深厚的奖励
以感恩的姿势
看命运的双翼平添升腾的大风
尘世有锐利的异秉
尘世有锐利的异秉
出身贫瘠
于荒野萌发原汁原味的冲动
在一个人高于自我的梦乡
生根的偏执时常与幸运同行
四十年一场大雪
温暖着厚重寒冷
那个在雪野写下天空的人
腾云驾雾的双足
不粘尘埃，无姓无名
与植物交换安静的秘密
小时候他以为自己长不过庄稼
和池塘边冒出的柳条
他端详一些植物
从微风的摆动中用心寻找
是什么力量
在安静中不断抬高
四十年后，他停止对比
在办公桌上种植花草
每一天听到的安静
都是与植物们的等价交割
那些互赠的秘密
于命运的藤蔓上最终结果
每一块伤疤都要深耕细作
伤疤上站着荷锄少年
在一块块随身配带的土地上
深耕细作，日夜浇灌
一些枯枝长出花蕾
在绽放之际潜入沧海桑田
此时，本命收敛种子
本心漫游于河流山川
拂平每一枚伤疤的前世
必将收获泥土深处蕴藏的空间
它收纳过生长的力量
足够一个人回到从前
生日是另一个世界的开端
四十八年前，世界尚且完整
直到它裂出一条缝隙
另一个世界开始诞生
四十八年来
吹着一股细细的冷风
灰蒙蒙的天地里
发杈的世界无限扩充
它长出可以遮羞的叶片
创造新的人类
聚集一些从无到有的物种
多出来的一个人多么安静
他和这片土地的感情
如此多余
与杂草一起，寂然无声
一些流浪的水
慢慢成为他的根茎
多出来的一个人多么安静
他看见悲伤
如同看见亲人
他陪同哀恸
回到各自家中
一个多余的人
在风中，是一盏沉默的灯
春天是自己的阴影
跟着一个人发芽
长出他的阴影
是春天最失败的事情
跟着一个季节
为自己的阴影戴满花草
是一个人最失败的事情
春天与我有什么关系
如果心里没有它
它就是我的阴影
.
一个人隐入绵延的黄昏
一个人走了一天
他就要隐入绵延的黄昏
带走一条路
和他的影子
拉得最长的那件事儿
也将渐渐暗下来
诸多有着棱角的事物
都不再反光
他现在稍有自得
身无长物的结局
略显凄美
却一如将至的黑夜
把前日轻松放弃
让一些事物独自生长
你种下它的时候
便已经分手了
继续给予养分
会让它的内心受伤
春天不是太短就是太长
参与者将会发现
一些事物很快长成另外的模样
就让它们独自生长吧
就让尘世回到万物的故乡
四十八年的日子摞了多高
除掉淋雨发霉
和飘浮无着的
能摞起来的日子还真不多
这一米八的高度
有哪些地方还算结实
积累的病根和空虚
和摞起来的日子比一比
到底谁站得更高
由那么多日子堆起来的中年
是不是已经开始佝偻了
弯腰驼背逐渐耗费的高度
是四十八年摞起的大数据
过滤一下
可以看出此生如此多余
梦见潦倒的此生
梦中，潦倒如此逼真
定格了二十岁的所有场景
倒塌的茅屋
破败的家境
绝望的文字
都晾在村头的寒风中
每一次努力
都带着凸起的伤痛
看见一个四处碰撞的自我
即使付出剩余的青春
依然抱定一个十足的噩梦
醒来时，一切如星光散开
一种瘫软
是不是衰老的特征
后半夜的梦都很凉
后半夜，一个人的梦
越来越凉
用另一个梦中人
暖一暖空空的胸膛
前半生，钻进梦中的刺
在寒风里生长
它钉住每一只暗影
在第四十八年
醒来时，记下满身暗伤
向所有的伤痛致敬
四十八年收获的伤痛
皆是由心而生
每一次面对敌人
都披挂着闪闪发光的虚荣
一个头顶诗歌的人
有过意外的幸运
已经准备好
向接踵而来的伤痛致敬
为懒散和近视打造容器
也为放纵的语言
搭建简陋的窝棚
遇见无家可归的异见者
他按下伤疤里的冲动
评论：
大地和大地带来的
——读温青的《本命记》
敬文东
王国维先生对中国文学的南北差异有一番精彩的评论：“北方人之感情，诗歌的也，以不得想象之助，故其所作遂止于小篇；南方人之想象，亦诗歌的也，以无深邃之情感之后援，故其想象亦散漫而无所丽，是以无纯粹之诗歌”。依地理气候将文学分为感情和想象两种类型，未必有神秘的形而上依据作为支撑，却极有可能符合我们的现实经验：北方的地理环境多为宽广无垠的平原和蜿蜒耸立的高山，北人习惯用清晰的高低等级秩序衡量事物，形成了以土地为中心的伦理界域；南方的地理环境多为云气弥漫的湖泊沼泽和密集深邃的深山老林，南人习惯用朦胧的整全性和混沌性品味事物，形成了以水为核心的想象界域。分别由土地和水泽孕育、滋养的文学气质，如果在南北地理文化的过渡地带汇集与融合，会产生怎样的文学效应呢？诗集《本命记》表明：作为生活在信阳的诗人，温青凭借独特的个人禀赋，发挥其得天独厚的地理文化优势，汲取南北文学之长，从而形成了以大地为核心的水土交融的文学气质。
温青的诗歌首先建立在土地的物性法则和劳作关系之上，诗歌的根基沉稳扎实，结出的果实亦摇曳生姿——词语“拔节、扬花、结籽”的声音铮铮作响，如“在泥土中不断摸索/与所有的根茎/结成生死相依的兄弟”（《一生的劳作》）；“只有劳作能够掸去人间尘埃/只有土地能够收纳传世悲喜”（《在耕作中翻出前朝的碗底》。得到反复强调的“摸索”和“劳作”等动作，被视为连接生命和土地以及生命与生命之间的纽带。在人与土地由劳作结成的实践关系中，诗人讴歌的不是想象的道德主体，而是一个由力量、运动和变形构成的行动世界。在这个世界里，土地在人的肉身中开花；人的意志和力量则在土地上蔓延。土地中的声音、气息回应着生命的存有与实在，人的生命则参与到土地的循环与流动中——生命与大地发生着深沉而亲密的内在应和，达到了水乳交融的关系。“走进谷穗/就可以走出我了/走出了我/土地长出的神明将赐我长生不死”《这亮白的液体进入灰暗的身躯》。土地不仅仅是容纳生命的场所，更是象征道统秩序的天地境界；土地上的生命则是以土地为连接点、以天为朝向的共同体，具有生生不息的广阔性和无限感。
与外向、阳性的以土地为核心的创造力量不同，构建温青诗歌的另外一极则是内向的、阴性的以水为中心的反省力量。水的阴性力量为温青的诗歌带来了一股温和平宁的气质。如“那晨雾/是一条河的胎衣/让它无法从孕育中逃离/在一个跌宕的世界/千万次碰壁/一出生，就知道回头”；“它躲在一条河里/宁愿把自己溶入水中/从此，在这条河里/你得以平静……”（《河流记》）水以其流动性和循环性启示着开端与终点的合一，暗示着一种永恒的平静状态。水是一种纯净的道德力量，正如福柯所言：“那激流直下的水能够冲走污浊、空想和一切近乎谎言的异想天开。水，在精神病院的道德氛围中，使人面对赤裸裸的现实，它具有强大和洁净力，既是洗礼，也是忏悔，也使愚者回到误失之前的状态的同时，使他彻底认识自我。”水洗涤与净化了生命的尘埃，引发了生命对母体胎衣与羊水的想象，激活了生命回归到原始混沌的冲动，打开了生命潜在的内在性与神秘感。
土地与水泽相互融合的结构，既强调生命向外扩充的运动本能，又辅之以克制与节度的内向反省力量，塑造了温青内外辩证、阴阳互补、兼重生命的广阔性与内在深度的心理感受类型。正如温青在诗歌中所吟咏的：
此时，本命收敛种子
本心漫游于河流山川
拂平每一枚伤疤的前世
必将收获泥土深处蕴藏的空间
它收纳过生长的力量
足够一个人回到从前”
（《每一块伤疤都要深耕细作》）
借由土地和水的形象，生命的广阔性和内在深度彰显出来了，体现了生命创造与复归的梦想，贴近生命最本真的形态：生命是一个聚集着力量的散发与收纳、从种子到种子的循环往复过程。
在农耕中国，自然秩序是宇宙实体理性的体现，令人产生敬畏和感激意识，为人类的社会秩序提供了摹本与基础，并成为道德意识的主要来源。在视自然秩序为天道的时代，文学被视为对自然秩序的表现，语言秩序则是天道秩序的象征。正如刘勰所言：“仰观吐曜，俯察含章，高卑定位，故两仪既生矣。惟人参之，性灵所钟，是谓三才，为五行之秀，实天地之心，心生而言立，言立而文明，自然之道也……故形立则章成矣，声发而文生矣。”古典诗人以自然的本然性为宗，呈现出自然的本然美和当下美，令心中的德善修行与自然的圣姿庄颜相契合，让生命物化为与山水草木相平等的生命有机体。到得工业社会，人借助科技力量探测着自然的深层奥秘，自然世界被工具和机械透明化了。自然不再具有自明的意义，也不再是道德价值感的来源。诗歌写作者不再完全遵从道德理性，而成为一个未完成的、不断地自我更新的感受性主体；诗的言说过程是主体形成的过程，是一个在寻找自我或是在为自己找寻轮廓的过程。在自然和主体被祛魅的时代，如何调整人与自然的关系，将自然作为一个诗学资源纳入到诗歌中，是摆在诗人面前的重要课题。这也正是李泽厚先生提出的中华文化“天人合一”传统如何现代化的问题：中国古人将伦理与道德作为本体与宇宙自然相通为一，建立起内在伦理自由的人性理想和道德境界；今日作为人生境界和生命理想的审美的天人合一，如何从静观到行动，如何吸取西方的崇高和悲剧精神，使之富有冲破宁静、发奋追求的内在动力，而成为推动历史的物质的现实动力，成为现代社会的自觉的韵律和形式，改造而吸收中国“参天地、赞化育” 的天人合一的传统关联，真正实现人与自然的和谐相处和亲密关系。李氏倡导的，是一种既尊重生命的主动创造性，又能克制膨胀的欲望，保持适宜节奏和韵律的生命形态。
温青的写作满可以视为一个较为成功的启示。他将自然和生命视为协同性共在的物自体——一个充溢着生命活力而具有神秘性和不可解深度的共同体。它不能被纳入理性认知范畴之内而被逻辑化。事实上，它是一种具有自足性和完整性的生命形态。唯其如此，人与自然在本质上成为没有区别的生命体，自然更深地出现在人的感觉体系之中，与生命发生深度的交融。得益于独特的个人禀赋和地域优势，温青形成了独特的内在感受体系，他一方面强调创造的阳性力量，另一方面注重克制与平衡的阴性力量。这种心灵感受形式与自然界生息荣枯、前进退藏的生命节奏相适应，与自然的创造与回归的生命伦理紧密相应，体现了人与自然的深层次力量的契合，从而在自然和生命之间建立起更深刻的内在关联——相互演奏与共鸣的生命共同体。依然是生命与自然的共融，只不过这种自然是心灵图景外化的形式，而生命的内在深度又必须经过大自然的召唤与激发。这种人与自然的关系，正如泰勒所言，“对自然的这种新取向并不直接关心单纯或质朴的德性，而是关注本性在哦我们内部唤起的情感。我们复归自然，是因为它显示了我们内部强烈而高尚的情感。自然吸引我们，是因为它在某种程度上调解我们的感受，或者唤醒休眠的情感。自然像一个大键盘，我们的高级情感在上面演奏。我们求助它，就像求助音乐一样，去唤起和加强我们内部最好的情感。”这未尝不是现代社会中一种新型的天人合一关系。温青因此写道：“只有大自然与时光相爱/生出那些细草的籽粒/越过山高水长/带去一粒尘埃的前世今生/给这个赤裸裸的世界披上衣裳”（《尘埃书》）在不断向前、又不断回归起点的循环的时间形式里，大自然上演着依循节律的生死荣枯，保存着丰富多样的生命形态，足以对抗单调乏味的世界，赋予世界丰满的肉身。在生命被欲望支配成单向度和扁平化形式的时代，在神秘的自然被透明化和机械化的岁月，温青依然保持着维护生命丰富形态的尊严与梦想，他依然有气度蔑视着那些速朽的易于败坏的生命样态，固守着梦想的权利：
我静候着，这一生的浆果
涂满大地。
作者简介
敬文东，1968生于四川省剑阁县，文学博士，现为中央民族大学文学与新闻传播学院教授。主要有《流氓世界的诞生》《指引与注视》《失败的偶像》《随“贝格尔号出游”》《事情总会起变化》《感叹诗学》等专著，有《写在学术边上》《颓废主义者的春天》《梦境以北》《网上别墅》《房间内的生活》等随笔、小说和诗集，另有《被委以重任的方言》《灵魂在下边》《诗歌在解构的日子里》等文集。获第二届唐弢青年文学研究奖，第二届西部文学奖，第16届华语文学传媒年度文学评论家奖等。
Ben Ming Ji (a poem series with Jing Wendong's comments)
Wen Qing
The owed lives will return happy lot
The fate being used for forty-eight years
Drive a lonely man to a high mount
He looks around at countless “his own”
Dressing up a wind-frosted scarf with fallen leaves
He stands on his own edge
Waiting for the owned lives to return happy lot
This is a man who has eaten countless ups and downs
He has raised some cliffs.
And look at them opening their mouths and slowly spitting out bad luck.
The fog that drifting through the whole pavilion
Gives a definite conclusion.
A scholar who owes suffering in a poem book is released
He is the poet who fights for fate
Shake off the dark frost gathered overhead
The fourth glimpse of my “animal year”
It's frosting over the bustle.
A man going downhill
Waves to him and walks towards the exiting way
He cleans his nest ahead of time.
To make a hook for the whole life's destiny
Netting is loved by frost
Some repeated flying footprints
Retain mottled spells
In the era of hollowing out
The unreachable gloom
On a man with the sun on his back
Carves a wrong path deep into bone marrow
The dark frost on the head
Becomes cold flowers
Fate planted in the land of addiction
A wanderer where wanderers has his own lake of destiny
Between clouds and mud
Some rich blue become more solid.
Its color is a pain.
The repeated ripples, create sharp spines
After overcome 3000 hardships
The destined maturity is continuously delayed
It gives countless reasons for indulgence.
And superimpose a poem of self-despair
A paranoid cultivator
Is in favor of rice ear
And will ignore all the evasions
God bestows the breakthrough on Self-reflection
After the fourth tempering
In what form will he reveal himself?
The upside-down horns get deep into the breakthrough dreams
Those frequently rhythmic of reflections
Is given by God
And spreads out the pain along the way
A promise of nearly half a century
grows all the time in the backbone position of the hindbrain
It draws the distance between heaven and earth.
And move the wind and thunder for an anonymous person
On the cloudy road to Paradise
Slowly he releases some secrets
Of self-growth.
The snowstorm hides the mottles and holds the heavy
Some harvest beyond destiny
Reward a man who believes in labor
Winds and snows cover up bad luck’s reckless action
Those magical mottles
Holding on to the heaviness of not living in the world
He knows the background of seeds.
The fate born in the land is eternal because of the legend
By the power of growth
He opens the doomed barrier.
And add a thick layer to the depleted lives
A man who escaped the scenery
Hides in invisible mottled shadows in the scenery
He knows, the most beautiful world
Is a corner of light clouds and wind
Hurt and bless give grace at the same time
He was grateful for the hurt.
Just like the process of healing a wound as a blessing
Giving pain to overdraw
In a hot world
Swimming through the inevitable cold
Whether framed or exposed
Be appreciative or protective
All fates must be complied with.
Accept hatred like embracing love
A Smile with Flowers as Wounds
This is the deepest reward.
In a gesture of gratitude
Look at the Wings of Fate
.
There are sharp differences in the world.
There are sharp differences in the world.
Poor in origin
The impulse to germinate in the wilderness
In a dream where one is higher than oneself
Rooted paranoia often goes hand in hand with luck
Forty years of heavy snow
Warm and heavy cold
The man who wrote the sky in the snow
The feet of flying clouds and driving fog
Dust-free, nameless
Exchange quiet secrets with plants
When he was young, he thought he couldn't grow crops.
And the willows coming out of the pond
He looked at some plants.
Looking for it from the swing of the breeze
What power is it?
Keep rising in peace
Forty years later, he stopped comparing.
Planting flowers and plants on your desk
The silence you hear every day
They are all equivalent to plants.
The Secrets of Mutual Gifts
The final result on the vine of fate
.
Every scar needs to be plowed deeply and carefully.
On the scar stood the young hoe.
On a piece of land with you
Deep ploughing and intensive cultivation, day and night watering
Some withered branches grow buds.
Diving into the vicissitudes of the sea while blooming
At this point, the natural convergence seed
Wandering in rivers, mountains and rivers with one's heart
Flatten every scar in the past
It will certainly harvest the space hidden deep in the soil.
It takes in the power of growth.
Enough for one person to go back to the past
_
Birthday is the beginning of another world
Forty-eight years ago, the world was still intact.
Until it cracks a crack
Another world was born.
Forty-eight years
A fine cold wind blew.
In the grey world
The Infinite Expansion of the World
It grows leaves that can be shamed.
Creating a New Human Being
Gathering some species from scratch
How quiet the extra person is
His feelings with the land
So redundant
Silence with weeds
Some stray water
Slowly became his rhizome
How quiet the extra person is
He saw grief.
It's like seeing relatives.
He accompanied him in mourning.
Back to their homes
A superfluous person
In the wind, is a silent lamp
Spring is my shadow
Germinate with a person
Grow his shadow.
It's the most failed thing in spring.
Follow a season
Wear flowers and plants for your shadow
It's a man's worst failure.
What does spring have to do with me?
If you don't have it in your heart
It's my shadow.
A man hides in the endless evening
A day's walk alone
He's going to disappear into the evening.
Take a Way
And his shadow
The longest thing to pull
And it's going to get dark.
Many things with edges and corners
No more reflections
He's a little complacent now.
The End of Being Nameless
Slightly sad and beautiful
But it's like the coming night.
Relax the day before yesterday
Let something grow alone
When you planted it
It's already broken up.
Continue to give nutrients
It will hurt its heart.
Spring is either too short or too long.
Participants will find out
Some things quickly grow into other shapes.
Let them grow alone.
Let the world return to the homeland of all things.
How high were the days of forty-eight years?
Get rid of rain and mildew
And floating
There aren't many days to pile up.
The height of this meter eight
Where are they still strong?
Accumulated disease root and void
Compare with the days on the pile
Who stands taller?
Middle-aged people piled up by so many days
Has ricketing begun?
The height at which a hunchback gradually consumes
It's the big data from forty-eight years.
Filter it.
You can see how redundant this life is.
Dream of a life of falling down
In the dream, it's so lifelike.
Fixed all scenes of 20-year-old
A collapsed hut
A dilapidated home
Words of Despair
All in the cold wind at the head of the village
Every effort
With protruding pain
Seeing a colliding ego
Even if you give the rest of your youth
Still clinging to a full nightmare
When you wake up, everything is like a star.
A kind of limp
Is it the characteristic of aging?
The dreams of the latter half of the night were very cold.
Later in the night, a person's dream
Cooler and cooler
Use another dreamer
Warm and empty chest
The first half of life, into the thorns of dreams
Growing in the cold wind
It pins every shadow.
In the forty-eighth year
When you wake up, write down the dark wounds on your body.
Salute all the pain
The Pain of Forty-eight Years'Harvest
All come from the heart.
Every time we face the enemy
All dressed in shining vanity
A man with a poem on his head
Had unexpected luck
Ready
To pay tribute to the pain that followed.
Create containers for laziness and myopia
Also for indulgent language
Build humble shacks
Meeting Homeless Dissidents
He pressed the impulse in the scar.
The Commentary by Jing Wendong
The Great land and what it gives
—— about Wen Qing's poems “The Natural Life”
Mr. Wang Guowei made a brilliant comment on the difference between the north and the south of Chinese literature: "The feeling of the northerners on poems is lack of imagination, so their write unimportant works ; The imagination of the Southerners on poems has not deep feelings put in works, so their imagination is also scattered and unrestrained and unsmart, so there is not mighty poetry". According to the geographical climate, literature divided into two types “ emotion” and “imagination”, which is not necessarily supported by mysterious metaphysical basis, but it is likely to conform to our practical experience: the geographical environment of the north is mostly vast with plains and winding towering mountains, and the northerners are accustomed to measuring things with clear hierarchical order, thus it forms
a land-centered ethical boundary ; In south ，the environment is mostly cloudy lakes and swamps and dense deep mountain with forests. Southerners are used to experiencing things with obscure and chaotic integrity, and form an imaginary boundary with water as the core. the literary temperament is nurtured and nourished by land and water, respectively,if geographical culture assembles and fuses in the transitional zone between North and South ，What kind of literary effect will this create? The poetry anthology releases： As a poet living in Xinyang, Wen Qing, by virtue of his unique personal endowment, exerts his unique geographical and cultural advantages and draws on the strengths of North and South literature, thus it forms his a literary temperament of harmonious atmosphere of people and the environment and the land is the core.
Wen Qing's poems are first based on the physical laws of the land and labor relations. The foundation of his poems is steady and solid, and the fruits of his poems are also splendid. The words are jointing, blossoming and harvesting" are creating, such as "groping constantly in the soil /with all the roots /becoming brothers of life and death" （A Whole Life's Work); "Only labor can wipe away the dust of the world." /“Only the land can take in the joys and sorrows handed down from generation to generation”（Found an Ancient bowl When Farming）. The repeatedly emphasized actions of "groping" and "working" are regarded as links between life and land as well as between life and life. In the practical relationship between man and land which is formed by labor,what the poet eulogizes is not the imaginary moral subject, but an acting world composed of strength, movement and deformation. In this world, land blossoms in human flesh; human will and power spreads on land. The voice and breath of the land responds to the existence and reality of life, while human life is involved in the circulation and move of the land - life and the earth have a deep and intimate internal correspondence, which achieves a very harmonious relationship . "when getting into the rice ears /you can get out of me/when you get out of me/the gods that grow out of the land will give me immortality.”（This Bright White Liquid Enters the Gray Body）. Land is not only a place to accommodate life, but also a realm of heaven and earth symbolizing the order of orders. Life on land is a community with land as its connecting point and heaven as its orientation, which has a sense of endless and infinity.
Unlike the extroverted and positive land-centered creative power, the other pole of Wen Qing's poems is the introverted and negative water-centered reflective power. The negative power of water brings a gentle and peaceful temperament to Wen Qing's poetry. For example, "that morning mist / is the placenta of a river / makes it unable to escape from gestation / in a troubled world / tens of millions of encounters / as soon as it is born, it knows to turn back"; "it hides in a river / prefers to dissolve itself in water / from then on, in this river / you have to be calm..." Water, with its fluidity and circulation, enlightens the unity of the beginning and the end, implying an eternal state of calm. Water is a pure moral force, as Foucault said: "The torrent of water can wash away dirty, fantastic and almost lie fantasies. Water, in the moral atmosphere of psychiatric hospitals, makes people face the naked reality. It is powerful and clean. It is both baptism and confession. It also makes fools return to the state before their mistakes and make them fully aware of themselves. Water washes and purifies the dust of life, triggers the imagination of life on maternal placenta and amniotic fluid, activates the impulse of life to return to primitive chaos, and opens up the potential internality and mystery of life.
The structure of the integration of land and water not only emphasizes the movement instinct of life expanding outward, but also supplements the introspective power of restraint and temperance, which shapes the psychological feeling types of Wen Qing's internal and external dialectics, complementarity of Yin and Yang, and concurrent emphasis on the breadth and depth of life. As Wen Qing chanted in his poems:
At this point, the natural convergence seed
Wandering in rivers, mountains and rivers with one's heart
Flatten every scar in the past
It will certainly harvest the space hidden deep in the soil.
It takes in the power of growth.
Enough for one person to go back to the past.
(Every scar has to be plowed deeply and carefully)
the image of land and water, the breadth and inner depth of life are revealed, which embodies the dream of life creation and return, and is close to the most authentic form of life: life is a circulation and reciprocation process from seed to seed.
In farming China, natural order is the embodiment of the physical rationality of the universe, which produces a sense of awe and gratitude, provides a copy and basis for human social order, and becomes the main source of moral consciousness. In the era when the natural order was regarded as the Tao of Heaven, literature was regarded as the expression of the natural order, and the language order was the symbol of the order of the Tao of Heaven. As Liu Xie said, "Looking up at Tubo, looking down at Hanzhang, positioning the high and low, so the two instruments have been born. Only the ginseng, the soul of the bell, is the so-called three talents, the five elements of the show, the heart of the real world, the heart of life, stand up, speak and civilization, the way of nature is also... Therefore, the formation of Zhang Chengcheng, the voice and literary life. Classical poets take the nature of nature as their principle, showing the natural beauty and the present beauty. They make the virtue and virtue in their hearts fit with the sacred beauty of nature, and materialize life into an equal living organism with mountains, rivers, plants and trees. In the industrial society, people explore the deep secrets of nature with the help of science and technology, and the natural world is transparent by tools and machinery. Nature no longer has self-evident significance, nor is it the source of moral value. Poetry writers no longer fully comply with moral rationality, but become an incomplete and constantly self-renewal of the emotional subject; the process of poetry speech is the process of the formation of the subject, is a process of seeking self or outline for themselves. In the era of disenchantment of nature and subject, how to adjust the relationship between man and nature and incorporate nature into poetry as a poetic resource is an important topic for poets. This is also the question of how to modernize the tradition of "harmony between man and nature" of Chinese culture put forward by Mr. Li Zehou: the ancients in China integrated ethics and morality as ontology with the nature of the universe, and established the ideal of humanity and morality of inherent ethical freedom; and the aesthetic harmony between man and nature as life realm and life ideal today. How to absorb the lofty and tragic spirit of the West from meditation to action, make it rich in intrinsic motive force to break through tranquility and pursue vigorously, become the material motive force to promote history, become the conscious rhythm and form of modern society, and transform and absorb the tradition of "heaven and earth, praise and cultivate" in China. Relevance can truly realize the harmonious coexistence and intimate relationship between man and nature. What Li advocates is a kind of life form that respects the initiative and creativity of life, restrains the swelling desire and maintains the appropriate rhythm and rhythm.
Wen Qing's writing can be regarded as a successful inspiration. He regards nature and life as the self of things that coexist synergistically, a community full of vitality and mysterious and inextricable depth. It can not be included in the category of rational cognition and be logicalized. In fact, it is a life form with self-sufficiency and integrity. Only in this way, man and nature become indistinguishable beings in essence, and nature appears more deeply in the human sensory system and deeply blends with life. Thanks to his unique personal endowment and geographical advantages, Wen Qing has formed a unique internal feeling system. On the one hand, he emphasizes the positive force of creation, on the other hand, he emphasizes the negative force of restraint and balance. This form of spiritual feeling is adapted to the rhythm of life in which nature thrives and withers, advances and retreats, closely corresponds to the bioethics of creation and return of nature, and reflects the combination of deep-seated forces of man and nature, thus establishing a deeper internal relationship between nature and life - a life community that plays and resonates with each other. It is still the integration of life and nature, but this kind of nature is the form of externalization of the mental picture, and the inner depth of life must be evoked and stimulated by nature. This relationship between man and nature, as Taylor said, "This new orientation of nature is not directly concerned with simple or simple virtue, but with the emotions aroused by nature within us. We return to nature because it shows strong and noble feelings within us. Nature attracts us because it mediates our feelings to some extent or wakes us up to sleep. Nature is like a big keyboard on which our high-level emotions play. We turn to it, like music, to arouse and strengthen the best emotions within us. This is not a new kind of harmony between man and nature in modern society. Wen Qing therefore wrote: "Only nature loves time / produces the seeds of fine grass / crosses mountains and rivers / brings a grain of dust to the past and present life / clothes the naked world" (Dust Book) in the cycle of time that keeps moving forward and returning to the starting point, nature performs the rhythm of life and death, preserving a rich variety of life forms. State is enough to confront the monotonous world and give the world a full flesh. In an era when life is dominated by desire in a one-way and flat form, and in a time when mysterious nature is transparent and mechanized, Wen Qing still maintains the dignity and dream of maintaining life's rich form. He still has the dignity to despise those fast-decaying and perishable life forms and stick to the right of dreams:
I am waiting for the berries of my life.
Cover the earth.
Author brief introduction
Jing Wendong, born in 1968 in Jiange County, Sichuan Province, has a Ph.D. in Literature. He is now a professor in the School of Literature and Journalism and Communication, Central University for Nationalities. There are such monographs as The Birth of the Hooligan World, Guidance and Gaze, The Idol of Failure, Traveling with the Beagle, Things Always Change, Lamenting Poetics, essays, novels and poetry as Written on the Edge of Academy, Spring of Decademicians, North of Dreamland, Online Villas, Life in the Room, and dialects entrusted with heavy responsibilities. 》 The Soul Below, Poetry in the Days of Deconstruction and other collections. He won the second Tang Xu Youth Literature Research Award, the second Western Literature Award, and the 16th Annual Literature Critic Award of Chinese Literature Media.