1
Oct

Emptied thoughts in Poetics

   Posted by: sye   in misc

1.
Poetry should not borrow heavily from music, it ought to rid itself from its influence.

2.
Poetry should not borrow heavily from the vantage points of painting.

3.
Merely piling up witty and pretty words is pointless in poetry.

4.
Impressionists say ” Mother nature is like a courtesan, having been penetrated a thousand times.” Yet new comers don’t know for sure that she can’t be penetrated ten thousand times more. Number of penetrations is of no concern to us, we must discover new loving subjects and new paths to Elysium.

5.
Poetry’s tempo and melody isn’t about words’ tonal rising and falling, withholding or outpouring, but the emotional fugue carrying within words, or the variations of their intensity.

6.
The most importance of free-form poetry is the nuance of poetic feelings, not at all about nuance in words and sentences.

7.
Harmoniously uniformed words and sentences can block the flow of poetic emotion, or turn the emotion into monstrous formations. By forcing poetic emotion to suit rigid, superficial and old formality, is like binding one’s feet to fit in other’s shoes. Foolish or deviant folks chop up their feet to fit in shoes, smarter ones chose suitable shoes for their feet, but the wise creates a pair of shoes that is most natural to his feet.

8.
Poetics is not to please one sense but in all sensible beings or transcend all sensibilities.

9.
New form in poetics must have new emotion or new expression of such motion. What we say about formality, is never about superficial orders of words, nor making new definitions by exhaustively sipping and piling up words.

10.
It is not necessary to use new things as currents for poetic motion ( I am not against using new things), from old events and old things, we can bring forth new emotion of poetics.

11.
Re-applying old classical form isn’t apt for opposition, if it grants us fresh emotion and juxtaposition.

12.
Do not overtly obsessed with what is exotic and grotesque, for those won’t last long.

13.
Poetics needs to have its own dialect on originality, but one must also embed it with cosmopolite, both can’t be without the other.

14.
Poetics is based in reality, polished by imagination, it isn’t realistic, nor imaginitive.

15.
Poetics must be expressive in one’s emotion, moving the other along with compassion, poetics is a living being by itself, not a non-living thing.

16.
Emotion is hardly what’s captured by photography. Emotion can be etched out by poetic scapel. Retouching of raw emotions enlivened thousands and ten thousands manifestations.

17.
Poem written in one language, praised only by those who speak the same language, are not poetry of poetics, that only amounts to linguistic magic at most. Goodness in true poetics lives not in the longevity of one particular lingua.

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One comment

sye
 1 

摘要:《望舒诗论》(原载于1932年《现代》第二卷第一期,收入1933年《望舒草》时更名为《诗论>零札》)

《诗论零札》(一)

1.
诗不能借重音乐,它应该去了音乐的成分。

2.
诗不能借重绘画的长处。

3.
单是美的字眼的组合不是诗的特点。

4.
象征派的人们说“大自然是被淫过一千次的娼妇。”但是新的娼妇安知不会被淫过一万次,被淫的次数>是没有关系的,我们要有新的淫具,新的淫法。

5.
诗的韵律不在字的抑扬顿挫上,而在诗的情绪的抑扬顿挫上,即在诗情的程度上。

6.
新诗最重要的是诗情上的nuance而不是字句上的nuance(法文:变异)。

7.
韵和整齐的字句会妨碍诗情,或使诗情成为畸形的。倘把诗的情绪去适应呆滞的,表面的旧规律,就>和把自己的足去穿别人的鞋子一样。愚劣的人们削足适履,比较聪明一点的人选择较合脚的鞋子,但>是智者却为自己制最合自己的脚的鞋子。

8.
诗不是某一个官感的享乐,而是全官感或超官感的东西。

9.
新的诗应该有新的情绪和表现这种情绪的形式。所谓形式,决非表面上的字的排列,也决非新的字眼>的堆积。

10.
不必一定拿新的事物来做题材(我不反对拿新的事物来做题材),旧的事物中也能找到新的诗情。

11.
旧的古典的应用是无可反对的,在它给予我们一个新情绪的时候。

12.
不应该有只是炫奇的装饰癖,那是不永存的。

13.
诗应该有自己的originalite(法文:特征),但你须使它有cosmopolite(法文:普遍)性,两者不>能缺一。

14.
诗是由真实经过想象而出来的,不单是真实,亦不单是想象。

15.
诗应将自己的情绪表现出来,而使人感到一种东西,诗本身就像是一个生物,不是无生物。

16.
情绪不是用摄影机摄出来的,它应当用巧妙的笔触描写出来。这种笔触又须是活的,千变万化的。

17.
只在用某一种文字写来,某一国人读了感到好的诗,实际上不是诗,那最多是文字的魔术。真的诗的>
好处并不就是文字的长处。

October 1st, 2016 at 4:41 pm