砸（1）（选自《干货》第三卷）

By Ouyang Yu

 砸诗（1）

问：诗写出来就是为了求赞、被赞的吗？

答：肯定不是。

问：那是为了什么？

答：不为了什么，只为了写出来而写出来。

 

看，还是没有触及本微文的核心问题：砸。很多诗人出了诗集，急吼吼地送给人看，不料人家不想看，偷偷扔了，或者翻翻之后束之高阁放起来再也不看。诗的境遇够惨了。如果真想让人看，那就不要有任何指望被人赞的心，先等着挨砸挨骂吧。这就是我办砸诗群的宗旨之一。

 

没想到，我们古代也有砸诗的，该人就是沈括（1031-1095）。他在《梦溪笔谈》里，把包括司马相如、白乐天和杜甫等人都砸了，请看原文如下：


司马相如叙上林诸水曰：丹水、紫渊、灞、浐、泾、渭，八川分流，相背而异    态，灏溔潢                      漾，东注太湖。李善注：“太湖，所谓震泽。”按八水皆入大河，  如何得东注震泽？又白乐天《长恨歌》云：“峨嵋山下少人行，旌旗无光日色    薄。”峨嵋在嘉州，与幸蜀路全无交涉。杜甫《武侯庙柏》诗云：“霜皮溜雨      四十围，黛色参天二千尺。”四十围乃是径七尺，无乃太细长乎？防风氏身广  九亩，长三丈。姬室亩广六尺，九亩乃五丈四尺。如此，防风之身乃一饼馅耳。此亦文章之病也。（选自《沈括·梦溪笔谈·讥谑》）

 

我的记忆中，古代这样的砸家还不少，得需时日，慢慢钩沉出来。

Comments

Post a Comment

Popular posts from this blog

LOWER DOWNS, RUBBISH AND LOW POETRY by Ouyang Yu

By Ouyang Yu
Beauty is so far from being the dominant principle of modern poetry that many of the most splendid modern works are clearly portrayals of ugliness - Friedrich Schlegel ( On the Study of Greek Poetry , 1797) Contemporary Chinese poetry has unashamedly turned from the sublime and sacred to the vulgar and profane. In April 1999 at the Panfeng Conference in Pinggu County, Beijing, poets split into two camps, the  zhishi fenzi  (intellectual) and the  minjian . 1  The poets in the intellectual camp (Wang Jiaxin, Ouyang Jianghe, Xi Chuan, Zang Di and others) were mostly well-published, anthologised, critically acclaimed, well-travelled and internationally well-connected. As university professor and poetry critic Cheng Guangwei noted, much of their poetry reflects the influences of Western literary masters such as Yeats, Rilke, Lowell, Pound, Baudelaire, Milosz, Pasternak and Brodsky. 2  The  minjian camp (Yu Jian, Yi Sha, Xu Jiang and others) critiqued these influences as ‘European’ or ‘colo
Read more

Self Publishing, a poem by Ouyang Yu

By Ouyang Yu
In a way, everything is self publishing. When you open your mouth to talk, you are self publishing because you don’t want someone else to speak for you even if he or she were the speech writer for Howard or Bush or Mao Zedong. When the rain decides to fall it is self publishing, on a regional scale, sometimes on a statewide scale. You can’t dismiss it as unworthily self publishing because it doesn’t fall on a national scale or international scale. Rivers in the world are self publishing on a daily and nightly basis. Even a little creek is self publishing when it winds its way through an industrial zone clogged with toxicity and waste. Birds never remain quiet because they don’t get paid for calling, their ways of self publishing that never is actually recorded in human history, not even in birds’ history, and when sometimes it does get recorded as in relaxation music they still don’t get paid and they still keep singing, their ways of self publishing. Some great self publish
Read more

Wenche Ommundsen: Not for the Faint-Hearted: Ouyang Yu: The Angry Chinese Poet

By Ouyang Yu
Image
Wenche Ommundsen: Not for the Faint-Hearted: Ouyang Yu: The Angry Chinese Poet [PAGE 595] In the title poem of Ouyang Yu's first collection,  Moon Over Melbourne , a homesick Chinese poet compares the Australian moon with the moon celebrated by countless poets in his homeland. The moon is the same, but at the same time it is different. Like the ancient Chinese moon, it inspires poetry—and madness. But in Australia, that poetry is born of frustration and loss, and of everything this foreign moon fails to be. The ‘bastard’ moon over suburban Melbourne even looks Australian. ‘Mooching’ along in an ‘air-conditioned’, ‘I-wouldn't-care-less’ kind of mood, it mimics the country's indifference towards the newcomer and towards everything else: ‘you hang on you all right you no worries mate’. 1  Australia and China are both colonizers, but they colonize differently. While Australia is content to plant ‘the rag of a flag/among your rocks’, and then retreat into lazy indifference,
Read more