精华热点 
中文
在云南地理上空飞翔着一只奇特的黄鹂鸟
——赏析诗人马勇诗歌作品现象
张联 （宁夏）
英文
A peculiar oriole is flying over the geographical area of Yunnan Province
-- Appreciation of the Poetic Works of Poet Ma Yong
Zhang Lian (Ningxia)
衡量和评价一位优秀诗人的诗艺，最佳标准，莫过于在他的诗作是否具有了一种特殊艺术的建筑学。这样的高超手艺，你会在他的每一首诗作里，都可以找到一座精致，甚至是富丽堂皇般的宫殿和巨塔般的童话新世界。这样的创作力一定来自诗人多年修炼成功的诗功和深厚诗学阅历绝妙的底蕴的真实神奇的具备。
The best criterion for measuring and evaluating the poetic art of an outstanding poet lies in whether there is a special artistic architecture in his poems. Such superb craftsmanship can be found in every one of his poems – you can find an exquisite, or even magnificent palace and a fairy-tale new world like a huge tower. Such creativity must come from the poet's truly amazing possession of the poetic skills cultivated over many years and the profound and wonderful foundation of poetic experience.
阅读云南诗人马勇的诗作，给了我不错的印象。需要来综合地解构赏析一下。因为诗人的出生地在云南。他的地理位置和环境自然在他的诗作里产生和不同地域诗人诗境的不同味来:
Reading the poems of the Yunnan poet Ma Yong gave me a good impression. It is necessary to conduct a comprehensive deconstruction and appreciation. Because the poet was born in Yunnan. His geographical location and environment naturally bring about a different flavor in his poems compared to those of poets from different regions.
一、诗作《逍遥游》:
“黄昏落雁/夜神高擎火光/照亮尘世斑驳的暗影/节拍/慢点，再慢点/慢至心跳舒缓寸草鸣晖/一溜古老的秋千/荡过热带雨林的碧空/啁啾王国/阳光欢悦/满月抒怀/群星下凡/河流飘香/盘旋时空腰际的黄鹂畅响九霄/生灵雀跃/结伴/逍遥/到天涯”。
这首作品:你首先能从整理里看到的艺术的建构是从宇宙空间到人间美景的框架。这样的时空感从上而下，鸟瞰而飞翔。我们可以从六个意境的场景画面里，跟着诗意飞翔和穿越:“黄昏落雁，夜神火炬，斑驳暗影，寸草鸣晖，古老的秋千，热带雨林的碧空”。
这里硕大的翅膀；这里新的神话；这里浮动美妙的影像；这里鸣叫着具有穿透力的翠音；这里飞翔着升起又落下的荡漾；这里空旷而又渺远的碧空。共同的力营造建筑创造出一座宏伟:“啁啾的王国童话”。
这就是这首诗的诗眼。这就是诗人化身为一只奇特的黄鹂鸟的飞翔。只因它的飞翔，畅响九霄，追逐阳光，满月银辉，穿越群星璀璨，穿越河流奔腾，引航万物生灵雀跃，百兽齐鸣，逍遥天涯。呈现给世人一座独一无二完美的童话王国。
One, the poem "Wandering Freely":
"Dusk sees wild geese land / The night god holds high the flame of light / Illuminating the mottled shadows of the earthly world / The beats / Slower, even slower / Slow until the heartbeats ease and every blade of grass sings in the glow / A row of ancient swings / Swing through the blue sky of the tropical rainforest / The chirping kingdom / The sun is joyous / The full moon expresses feelings / The stars descend / The rivers are fragrant / The orioles circling the waist of time and space resound through the ninth heaven / Creatures leap for joy / Joining together / Wandering freely / To the ends of the earth".
This work: The first artistic construction you can see from the arrangement is the framework from cosmic space to the beautiful scenery on earth. Such a sense of time and space is from top to bottom, with a bird's-eye view and soaring. We can follow the poetic flights and traversals from the six artistic conception scenes: "Wild geese at dusk, the torch of the night god, mottled shadows, singing grass in the glow, the ancient swing, and the blue sky of the tropical rainforest".
Here are huge wings; here are new myths; here float wonderful images; here chirps the penetrating emerald sound; here fly the ripples that rise and fall; here is the vast and distant blue sky. The common force builds and creates a grand: "The chirping kingdom of fairy tales".
This is the key point of this poem. This is the poet's transformation into a peculiar oriole's flight. Just because of its flight, it resounds through the nine heavens, chases the sunlight, the full moon's silver glow, passes through the brilliant stars, passes through the surging rivers, guides all living creatures to leap for joy, all beasts to chorus, and wanders freely to the ends of the earth. Presenting to the world a unique and perfect fairy tale kingdom.
二、诗作《时间吟》:
“差遣严寒/春暖花开眼前一亮/画面款然/难回头/源头意念/流水不腐/
像匹脱缰的野马/拉开光阴的帘子/你，从不慌张镇定自若/不论是在天堂/还是在地狱，步调高配/节奏一致/历史，在你怀中越陷越深/现实，在你额头扬蹄嘶鸣/未来的你/依旧一根筋/嘀嗒风云/我行我素”。
这首作品仍是跨越宇宙空间和历史与现实意义进程过程里的一种神力和新的神话。
这首诗作里的“你”是谁呢！
是谁来差遣严寒；是谁来变换春暖花开；是谁来营造画面款然；是谁来从源头意念；是谁来让流水腐；是谁来完成光阴的帘子；是谁来跨越新的天堂和地狱。
又是拥有怎样的步调高配；又是驾驭怎样的节奏一致，才算完成一次新的神话。和同时拥有一个庞大的场蹄嘶鸣，嘀嗒风云，我行我素的仙境。
最后，我们可思:“你”是谁？是大自然，上帝，还是诗人……。
2. Poem "Ode to Time":
"Dispatch the severe cold / The spring brings warmth and blooming flowers, a refreshing sight / The scene is gentle and charming / It's hard to turn back / The intention from the source / Flowing water does not rot /
Like a runaway wild horse / Pulling open the curtain of time / You, never flustered, composed and self-possessed / Whether in heaven / Or in hell, with a high-paced step / Consistent rhythm / History, sinking deeper and deeper in your embrace / Reality, neighing and raising hooves on your forehead / You in the future / Still stubborn / Ticking through the wind and clouds / Going your own way"
This work is still a kind of divine power and a new myth in the process of spanning cosmic space and the significance of history and reality.
Who is the "you" in this poem!
Who dispatched the severe cold; who transformed the spring into warmth and blooming flowers; who created the gentle and charming scene; who initiated the intention from the source; who let the flowing water rot; who completed the curtain of time; who crossed the new heaven and hell.
What kind of high-paced step is it to have; what kind of consistent rhythm is it to control to complete a new myth. And at the same time have a vast fairyland of neighing and raising hooves, ticking through the wind and clouds, and going your own way.
Finally, we can think: "Who is 'you'? Is it nature, God, or the poet...
三、诗作《一路前行的起伏春光》：
“省略吧!/林梢汹涌的海啸/裹挟着失魂落魂的呻吟/世间的惊愕/幽灵般/漫向人类细胞的天空/天色渐亮/河水蹿动/七只蝴蝶，见证了/十二缕阳光穿过花开的声音/默默奉献/飞鸥回眸/依偎田畴腋下的益虫/悉心守护着农作物的芽儿/挥汗的剪影/收入夕阳忆库/与金秋采撷交相辉映/一片枯槁的灵羽/因置身远郊葡萄园的核心/而变得可爱甜蜜/冬日即将横亘天边/复活的春天/置换萧瑟的北风/那明快的信仰节奏/起伏着高昂向前的精神浪花/富含钙质的骨条/弯成一张射向未来的银弓”。
一看:诗人采用了不动声色的反讽手法。激情地撼动着一个关键词:“省略吧！”
在人类历史进程中的所有感动和悲痛，以及我们人性心灵和灵魂的安放！是有着一个怎样惊心动魄的场景和画面。
那就是省略汹涌的海啸；那就是省略落魄的呻吟；那就是省略世间的惊愕；那就是省略幽灵般的身影；那就是省略细胞的天空；那就是省略河水的蹿动；那就是省略七只蝴蝶的飞舞和羽化的神话（可能是七仙女的故事，可能是梁山伯与祝英台的故事）；那就是省略了十二缕阳光的照耀里的十二道光彩；那就是省略了花开的神奇声音；那就是省略了飞鸥高空里回眸的飞翔；那就是省略了大地之上所有田畴里的益虫的蠕动和前行；
那就是省略了辛劳后挥汗的剪影；那就是省略了十万亿夕阳的忆库；那就是省略了万物枯槁后复苏的灵羽；那就是省略了远郊里我们家乡的葡萄园的美景；那就是省略了冬日天边的晨辉和晚霞；那就是省略了复活的春天正在置换萧瑟的北风的背影；那就是无数安放和慰藉的遥远。
在这样一条还乡路上的精神的浪花！永远有着我们民族钙质的骨条的脊梁！以及最美未来的银弓的闪烁！就是中华民族魂的大写！
III. Poem "The Undulating Spring Scenery along the Way Forward":
"Omit it!/The surging tsunami on the treetops/Carrying the moans of the dispirited and lost souls/The astonishment of the world/Like a ghost/Spreading towards the sky of human cells/The sky is getting brighter/The river is surging/Seven butterflies witnessed/Twelve rays of sunlight passing through the sound of blooming flowers/Silently dedicating/The flying gulls look back/Nestling the beneficial insects under the armpits of the fields/Carefully guarding the buds of the crops/The silhouette of sweating/Stored in the memory bank of the setting sun/Complementing each other with the harvest in the golden autumn/A withered spiritual feather/Because of being in the core of the vineyard in the distant suburbs/Become lovely and sweet/Winter is about to stretch across the horizon/The resurrected spring/Replaces the bleak north wind/That bright rhythm of faith/Undulates the high-spirited waves of forward-looking spirit/Rich in calcium, the bone strips/Bend into a silver bow shooting towards the future".
At first glance: The poet adopts a quiet irony technique. Passionately shaking a key word: "Omit it!"
In all the touches and griefs in the course of human history, as well as the placement of our human hearts and souls! What a thrilling scene and picture it is.
That is to omit the surging tsunami; that is to omit the moaning in distress; that is to omit the astonishment of the world; that is to omit the ghost-like figure; that is to omit the sky of cells; that is to omit the leaping of the river; that is to omit the dancing and transformation of the seven butterflies and the myth of transformation (maybe the story of the Seven Fairies, maybe the story of Liang Shanbo and Zhu Yingtai); that is to omit the twelve splendors in the shining of twelve rays of sunlight; that is to omit the magical sound of flowers blooming; that is to omit the flying of the seagulls looking back in the high altitude; that is to omit the crawling and advancing of all the beneficial insects in all the fields above the earth.
That is the silhouette of sweating after omitting toil; that is the memory bank of omitting ten trillion sunsets; that is the spiritual feather of recovery after omitting the withering of all things; that is the beautiful scenery of the vineyard in our hometown in the distant suburbs omitted; that is the morning glow and the sunset glow on the horizon in winter omitted; that is the back of the resurrected spring replacing the bleak north wind omitted; that is countless distant places of placement and consolation.
On such a spiritual spray on the road of returning home! There are always the backbone of the bone strips of the calcium of our nation! And the sparkle of the silver bow of the most beautiful future! It is the capitalization of the soul of the Chinese nation!
四、诗作《太阳出来了》:
“夕阳西坠/渔家恋海/拉网式的璀璨映碧崖岭/田间嫁接/枝头笑靥果实递增/想象力镶嵌的理性/有如海上航行的指南/隐现的灰色云朵/潸然泪下/南方原始丛林/飞出几只前哨信鸽/与临江小城的忧郁/擦肩而过/勤勉的晨风/扫除天空最后一场雾霾/光雨兼程/茁壮了知恩叩拜的生灵/飘然而至的夜色/拂盖呻吟千年的梦境/太阳出来了!/广袤的蓝色裙摆/缀满金边/风潮起伏哟/匀速前行的时间专列/载满分秒/一路凯歌……”。
这首诗作里诗人给我们打开的是:在这样的时光轮回里展现出南方渔海人家历史和战争的人间生活的真实场景。
诗人应运了这样的美妙的意象和生活画面:“夕阳西坠，渔家恋海，映碧崖岭，田间嫁接，枝头笑靥，灰色云朵，潸然泪下，原始丛林，前哨信鸽，小城的忧郁，勤勉的晨风，扫除雾霾的暗语，光雨兼程，太阳出来了的寓意，广袤的裙摆，前行的专列的科技象征，一路凯歌”等十七种意境的转换，赞美了人间天堂和人们生活的辛福美满。
Four. The Poem "The Sun Comes Out":
"The setting sun descends / Fishermen love the sea / The brilliant net-drawing reflects the green cliff ridge / Grafting in the fields / Fruits increase with smiling branches / The rationality embedded with imagination / Is like a guide for navigation at sea / The looming grey clouds / Shed tears / From the primitive jungle in the south / Several scout pigeons fly out / Passing by the melancholy of the small riverside town / The diligent morning wind / Sweeps away the last haze in the sky / The journey of light and rain / Strengthens the living beings who know gratitude and bow / The night that arrives gracefully / Covers the moaning dream that has lasted for thousands of years / The sun comes out! / The vast blue skirt / Adorned with golden edges / The wind and waves rise and fall / The special train of time that moves at a constant speed / Carries every minute and second / All the way singing triumphantly..."
In this poem, what the poet unfolds for us is: In such a cycle of time, it presents the real scene of the human life of the fishermen's families in the south, involving history and war.
The poet employs such wonderful images and life scenes: "The setting sun descends, fishermen love the sea, reflect the green cliff ridge, grafting in the fields, smiling branches, grey clouds, shedding tears, primitive jungle, scout pigeons, the melancholy of the small town, the diligent morning wind, the metaphor of sweeping away the haze, the journey of light and rain, the implication of the sun coming out, the vast skirt, the technological symbol of the advancing special train, all the way singing triumphantly", etc. Through the transformation of seventeen kinds of artistic conceptions, it praises the paradise on earth and the happiness and contentment of people's lives.
五、诗作《虚置灵粹》：
“演绎的复杂化……/道高一丈/疏导激情/留出足够的空白想象/勾兑日月精华/触摸纤维神经/甘愿给/风起云涌的灵感/效犬马之劳/解剖雪花/空灵至上/雨中/天际/云发飘飘/傍晚时分/风，筛选靠近地面的阳光/堆满山崖/失眠/颤栗/回放着多事之秋的白昼/是夜深的啁啾/为人间阖上了安睡的双眼”。
诗人心中的神话。再一次创造宇宙，成为新的诞生。就有了这样一位超大能量的神的出场。
他可以勾兑日月精华；他可以触摸宇宙里任何一个星球纤维神经里的经度和纬度；他可以给风起云涌的灵感；他可以解剖雪花的每一枚柔弱枝茎的结构。
他就是一位凌驾在空灵之上，隐现在雨中天际，而又精神矍铄，云发飘飘的老者。
他可以筛选出宇宙里全新的阳光和空气。然后，轻轻地堆满在人间山崖。从此，人间再无病毒，再无疫情。
他的大能和仁慈，才可以在夜色来临时，聆听那无尽的啁啾鸟鸣间，安睡双眼，休整他大德的辛劳。
Five. The Poem "Empty Spiritual Essence":
"The complication of the deduction... / One always rises above another / Channel the passion / Leave enough blank imagination / Blend the essence of the sun and the moon / Touch the nerve fibers / Be willing to / Serve the surging inspiration / Dissect the snowflake / Spirituality reigns supreme / In the rain / At the skyline / With flowing hair / At dusk / The wind, sifts the sunlight near the ground / Piles up on the mountain cliffs / Insomnia / Trembling / Replays the eventful days of the daytime / It is the chirping in the depth of night / Closing the sleepy eyes for the world".
The myth in the poet's heart. Once again creating the universe, becoming a new birth. Thus, there appears such a god of super-large energy.
He can blend the essence of the sun and the moon; he can touch the longitude and latitude in the nerve fibers of any planet in the universe; he can offer the surging inspiration; he can dissect the structure of each tender branch and stem of the snowflake.
He is an old man who reigns above the spirituality, hidden in the skyline in the rain, yet vigorous and with flowing hair.
He can sift out the brand-new sunlight and air in the universe. Then, gently pile them up on the mountain cliffs in the human world. From then on, there will be no more viruses or epidemics in the world.
His great power and kindness enable him to, when night falls and listen among the endless chirping of birds, close his sleepy eyes and rest from his virtuous toil.
六、诗作《行走的光河》：
“弱水三千的高原/清澈见底/神情若虹/一盏向晚的灯/急于坦露敞亮的直白/驱散暗影/法门洞开/流滢扑腾/数点万象灵物/着一袭西垂霞光/夜行天下若等闲/无意早起
/却与醒来的黎明碰个满怀/一道深谷的/亘古伤痛/绵延山脉起伏的劲朗和高昂的头颅/昨夜星辰/思绪盘旋辽阔旷野/万有引力的哑鞭/将千万条/会唱歌的河流赶进大海/留下陪伴故土的湖泊/在寒风刺骨中/依依眺望”。
这首诗作里，我们看到诗人，就是亲自在他心中创建构的新宇宙里漫步行走，行走出新的光河和江山。
这位大能的神。在他眼中行走在弱水三千的高原之上，眼眸清澈见底神情若彩虹般的绚烂。在一盏向晚的村灯里，坦露直白，驱散暗影，仍然让法门洞开，流滢扑腾，清理数点万象灵物天地之行，身着一袭霞光披风，行走天下。
在时空的转换里，诗人的眼光又回到真实的大地之上，迎接一个新的黎明，迎接来自宇宙的神来之光！触摸亘古的伤痛，好似绵延在无数山脉之间，那万有的哑鞭的掠影，闪过辽阔的旷野之上，传来无尽的轰鸣！将所有会唱歌的河流赶进大海之滨。
诗人万般感慨，站在故土的湖泊之上，依依眺望大地盛景。这样的理想和想像，不亚于发现一座桃花源记。
Six. Poem "The River of Walking Light":
"On the plateau with three thousand weak waters / Crystal clear / With a look like a rainbow / A lamp in the evening / Eager to reveal the candidness and openness / Dispelling the shadows / The dharma gate opens wide / Flowing and splashing / Counting the myriad spiritual beings / Wearing a robe of the setting sun's glow in the west / Traveling at night as if it's nothing / Having no intention to rise early
/ But encountering the waking dawn head-on / A deep valley's / Ancient pain / The undulating vigor and lofty heads of the stretching mountains / Last night's stars / Thoughts circling the vast wilderness / The dumb whip of gravitation / Driving thousands upon thousands of / Singing rivers into the sea / Leaving the lakes that accompany the native land / In the bitter cold wind / Looking longingly"
In this poem, we see the poet, walking personally in the new universe he created in his heart, walking out a new river of light and landscape.
This powerful god. Walking on the plateau with three thousand weak waters in his eyes, with eyes crystal clear and a look as brilliant as a rainbow. In a village lamp in the evening, revealing candidness, dispelling shadows, still keeping the dharma gate wide open, with flowing and splashing, clearing and counting the myriad spiritual beings and the journey of heaven and earth, wearing a cloak of glow, traveling the world.
In the transformation of time and space, the poet's vision returns to the real earth again, welcoming a new dawn and the divine light from the universe! Touching the ancient pain, as if stretching among countless mountains, the fleeting shadow of the universal dumb whip, flashing over the vast wilderness, bringing endless roars! Driving all the singing rivers to the seashore.
The poet was filled with all kinds of emotions, standing above the lake of his native land and looking longingly at the magnificent scenery of the earth. Such an ideal and imagination is no less than discovering a Peach Blossom Spring.
七、在诗作《超越，时隐时现》：
“一阵叽喳/啄启晨梦的引擎/风/一件天神赏赐万物的/隐形衣袍/把玩疼痛者诞生/在历史的时空中/生命像枚迅雷不及掩耳的擦边球”。
在这样的晨梦里，我一定聆听到来自天体的声响。可能就是一群小鸟的叽喳，成了开启晨梦的金钥匙，也是天机不可泄露的秘密。当这个世界新的童话产生的时候，是没有来由的，是自然天成的。就是这样的神迹，也是只有诗人才能注目凝视到它的轨迹。一定有一个隐形的巨人披着风般的披风。就是在迅雷不及掩耳之势的，也是白驹过隙般的珍贵。
这就是时光的美妙。这就是诗之力量！
2022年12月22日，冬至日盐池。
VII. In the poem "Beyond, Appearing and Disappearing":
"A burst of chirping / pecks the engine of the morning dream / The wind / An invisible robe bestowed by the gods upon all things / Plays with the birth of those in pain / In the historical time and space / Life is like a marginal ball that is too fast to catch"
In such a morning dream, I must have heard sounds from celestial bodies. Perhaps the chirping of a flock of birds became the golden key to unlock the morning dream and also the secret that cannot be revealed. When a new fairy tale of this world emerges, it is without reason and naturally formed. It is such a miracle that only poets can gaze upon its trajectory. There must be an invisible giant wearing a wind-like cloak. It is as fleeting as a flash and as precious as a moment.
This is the beauty of time. This is the power of poetry!
December 22, 2022, Winter Solstice, Yanchi.
张联简历：
张联，宁夏盐池人，1967年出生，中国作家协会会员。当代原生态自然主义诗人，作家，评论家，编辑家。二十世纪末“乡村诗”出现的创建者，引领者，推动者，“中国草根诗歌部落”的发起者。作品入编《中国新诗百年大典》《二十一世纪中国文学大系2001—2010》诗歌卷，《中间代诗全集》《21世纪两岸诗歌鉴藏》等百多种选本，著有诗集10部，作品译为日，英，西班牙等国外文字，著有美国双语版的诗集《傍晚集》由飘浮世界出版社2022年8月出版。2003年荣获《独立》首届民间诗歌奖之精神奖，荣获2018首届东西方诗人提名奖，荣获2018/2021中国诗人年度诗歌奖突出贡献奖！主编中国大型诗歌史料《中国乡村诗选编》系列。
Zhang Lian, a native of Yanchi, Ningxia, was born in 1967 and is a member of the Chinese Writers' Association. He is a contemporary original ecological naturalist poet, writer, critic, and editor. He is the founder, leader, and promoter of "Village Poetry" at the end of the 20th century, and the initiator of "China Grassroots Poetry Tribe". His works have been included in more than a hundred anthologies such as "Centennial Ceremony of New Chinese Poetry", "Chinese Literature Series 2001-2010 in the 21st Century" poetry volume, "The Complete Poems of the Middle Generation", "Appreciation and Collection of Cross-Strait Poetry in the 21st Century", etc. He has published 10 poetry collections, and his works have been translated into foreign languages such as Japanese, English, and Spanish. His American bilingual poetry collection "Evening Collection" was published by Floating World Press in August 2022. In 2003, he won the Spirit Award of the first Folk Poetry Award of "Independence", was nominated for the 2018 First East-West Poets Award, and won the Outstanding Contribution Award of the 2018/2021 Chinese Poets' Annual Poetry Award! He is the chief editor of the large-scale Chinese poetry historical materials series "Selected Chinese Rural Poems".
英文
A peculiar oriole is flying over the geographical area of Yunnan Province
-- Appreciation of the Poetic Works of Poet Ma Yong
Zhang Lian (Ningxia)
The best criterion for measuring and evaluating the poetic art of an outstanding poet lies in whether there is a special artistic architecture in his poems. Such superb craftsmanship can be found in every one of his poems – you can find an exquisite, or even magnificent palace and a fairy-tale new world like a huge tower. Such creativity must come from the poet's truly amazing possession of the poetic skills cultivated over many years and the profound and wonderful foundation of poetic experience.
Reading the poems of the Yunnan poet Ma Yong gave me a good impression. It is necessary to conduct a comprehensive deconstruction and appreciation. Because the poet was born in Yunnan. His geographical location and environment naturally bring about a different flavor in his poems compared to those of poets from different regions.
One, the poem "Wandering Freely":
"Dusk sees wild geese land / The night god holds high the flame of light / Illuminating the mottled shadows of the earthly world / The beats / Slower, even slower / Slow until the heartbeats ease and every blade of grass sings in the glow / A row of ancient swings / Swing through the blue sky of the tropical rainforest / The chirping kingdom / The sun is joyous / The full moon expresses feelings / The stars descend / The rivers are fragrant / The orioles circling the waist of time and space resound through the ninth heaven / Creatures leap for joy / Joining together / Wandering freely / To the ends of the earth".
This work: The first artistic construction you can see from the arrangement is the framework from cosmic space to the beautiful scenery on earth. Such a sense of time and space is from top to bottom, with a bird's-eye view and soaring. We can follow the poetic flights and traversals from the six artistic conception scenes: "Wild geese at dusk, the torch of the night god, mottled shadows, singing grass in the glow, the ancient swing, and the blue sky of the tropical rainforest".
Here are huge wings; here are new myths; here float wonderful images; here chirps the penetrating emerald sound; here fly the ripples that rise and fall; here is the vast and distant blue sky. The common force builds and creates a grand: "The chirping kingdom of fairy tales".
This is the key point of this poem. This is the poet's transformation into a peculiar oriole's flight. Just because of its flight, it resounds through the nine heavens, chases the sunlight, the full moon's silver glow, passes through the brilliant stars, passes through the surging rivers, guides all living creatures to leap for joy, all beasts to chorus, and wanders freely to the ends of the earth. Presenting to the world a unique and perfect fairy tale kingdom.
2. Poem "Ode to Time":
"Dispatch the severe cold / The spring brings warmth and blooming flowers, a refreshing sight / The scene is gentle and charming / It's hard to turn back / The intention from the source / Flowing water does not rot /
Like a runaway wild horse / Pulling open the curtain of time / You, never flustered, composed and self-possessed / Whether in heaven / Or in hell, with a high-paced step / Consistent rhythm / History, sinking deeper and deeper in your embrace / Reality, neighing and raising hooves on your forehead / You in the future / Still stubborn / Ticking through the wind and clouds / Going your own way"
This work is still a kind of divine power and a new myth in the process of spanning cosmic space and the significance of history and reality.
Who is the "you" in this poem!
Who dispatched the severe cold; who transformed the spring into warmth and blooming flowers; who created the gentle and charming scene; who initiated the intention from the source; who let the flowing water rot; who completed the curtain of time; who crossed the new heaven and hell.
What kind of high-paced step is it to have; what kind of consistent rhythm is it to control to complete a new myth. And at the same time have a vast fairyland of neighing and raising hooves, ticking through the wind and clouds, and going your own way.
Finally, we can think: "Who is 'you'? Is it nature, God, or the poet...
III. Poem "The Undulating Spring Scenery along the Way Forward":
"Omit it!/The surging tsunami on the treetops/Carrying the moans of the dispirited and lost souls/The astonishment of the world/Like a ghost/Spreading towards the sky of human cells/The sky is getting brighter/The river is surging/Seven butterflies witnessed/Twelve rays of sunlight passing through the sound of blooming flowers/Silently dedicating/The flying gulls look back/Nestling the beneficial insects under the armpits of the fields/Carefully guarding the buds of the crops/The silhouette of sweating/Stored in the memory bank of the setting sun/Complementing each other with the harvest in the golden autumn/A withered spiritual feather/Because of being in the core of the vineyard in the distant suburbs/Become lovely and sweet/Winter is about to stretch across the horizon/The resurrected spring/Replaces the bleak north wind/That bright rhythm of faith/Undulates the high-spirited waves of forward-looking spirit/Rich in calcium, the bone strips/Bend into a silver bow shooting towards the future".
At first glance: The poet adopts a quiet irony technique. Passionately shaking a key word: "Omit it!"
In all the touches and griefs in the course of human history, as well as the placement of our human hearts and souls! What a thrilling scene and picture it is.
That is to omit the surging tsunami; that is to omit the moaning in distress; that is to omit the astonishment of the world; that is to omit the ghost-like figure; that is to omit the sky of cells; that is to omit the leaping of the river; that is to omit the dancing and transformation of the seven butterflies and the myth of transformation (maybe the story of the Seven Fairies, maybe the story of Liang Shanbo and Zhu Yingtai); that is to omit the twelve splendors in the shining of twelve rays of sunlight; that is to omit the magical sound of flowers blooming; that is to omit the flying of the seagulls looking back in the high altitude; that is to omit the crawling and advancing of all the beneficial insects in all the fields above the earth.
That is the silhouette of sweating after omitting toil; that is the memory bank of omitting ten trillion sunsets; that is the spiritual feather of recovery after omitting the withering of all things; that is the beautiful scenery of the vineyard in our hometown in the distant suburbs omitted; that is the morning glow and the sunset glow on the horizon in winter omitted; that is the back of the resurrected spring replacing the bleak north wind omitted; that is countless distant places of placement and consolation.
On such a spiritual spray on the road of returning home! There are always the backbone of the bone strips of the calcium of our nation! And the sparkle of the silver bow of the most beautiful future! It is the capitalization of the soul of the Chinese nation!
Four. The Poem "The Sun Comes Out":
"The setting sun descends / Fishermen love the sea / The brilliant net-drawing reflects the green cliff ridge / Grafting in the fields / Fruits increase with smiling branches / The rationality embedded with imagination / Is like a guide for navigation at sea / The looming grey clouds / Shed tears / From the primitive jungle in the south / Several scout pigeons fly out / Passing by the melancholy of the small riverside town / The diligent morning wind / Sweeps away the last haze in the sky / The journey of light and rain / Strengthens the living beings who know gratitude and bow / The night that arrives gracefully / Covers the moaning dream that has lasted for thousands of years / The sun comes out! / The vast blue skirt / Adorned with golden edges / The wind and waves rise and fall / The special train of time that moves at a constant speed / Carries every minute and second / All the way singing triumphantly..."
In this poem, what the poet unfolds for us is: In such a cycle of time, it presents the real scene of the human life of the fishermen's families in the south, involving history and war.
The poet employs such wonderful images and life scenes: "The setting sun descends, fishermen love the sea, reflect the green cliff ridge, grafting in the fields, smiling branches, grey clouds, shedding tears, primitive jungle, scout pigeons, the melancholy of the small town, the diligent morning wind, the metaphor of sweeping away the haze, the journey of light and rain, the implication of the sun coming out, the vast skirt, the technological symbol of the advancing special train, all the way singing triumphantly", etc. Through the transformation of seventeen kinds of artistic conceptions, it praises the paradise on earth and the happiness and contentment of people's lives.
Five. The Poem "Empty Spiritual Essence":
"The complication of the deduction... / One always rises above another / Channel the passion / Leave enough blank imagination / Blend the essence of the sun and the moon / Touch the nerve fibers / Be willing to / Serve the surging inspiration / Dissect the snowflake / Spirituality reigns supreme / In the rain / At the skyline / With flowing hair / At dusk / The wind, sifts the sunlight near the ground / Piles up on the mountain cliffs / Insomnia / Trembling / Replays the eventful days of the daytime / It is the chirping in the depth of night / Closing the sleepy eyes for the world".
The myth in the poet's heart. Once again creating the universe, becoming a new birth. Thus, there appears such a god of super-large energy.
He can blend the essence of the sun and the moon; he can touch the longitude and latitude in the nerve fibers of any planet in the universe; he can offer the surging inspiration; he can dissect the structure of each tender branch and stem of the snowflake.
He is an old man who reigns above the spirituality, hidden in the skyline in the rain, yet vigorous and with flowing hair.
He can sift out the brand-new sunlight and air in the universe. Then, gently pile them up on the mountain cliffs in the human world. From then on, there will be no more viruses or epidemics in the world.
His great power and kindness enable him to, when night falls and listen among the endless chirping of birds, close his sleepy eyes and rest from his virtuous toil.
Six. Poem "The River of Walking Light":
"On the plateau with three thousand weak waters / Crystal clear / With a look like a rainbow / A lamp in the evening / Eager to reveal the candidness and openness / Dispelling the shadows / The dharma gate opens wide / Flowing and splashing / Counting the myriad spiritual beings / Wearing a robe of the setting sun's glow in the west / Traveling at night as if it's nothing / Having no intention to rise early
/ But encountering the waking dawn head-on / A deep valley's / Ancient pain / The undulating vigor and lofty heads of the stretching mountains / Last night's stars / Thoughts circling the vast wilderness / The dumb whip of gravitation / Driving thousands upon thousands of / Singing rivers into the sea / Leaving the lakes that accompany the native land / In the bitter cold wind / Looking longingly"
In this poem, we see the poet, walking personally in the new universe he created in his heart, walking out a new river of light and landscape.
This powerful god. Walking on the plateau with three thousand weak waters in his eyes, with eyes crystal clear and a look as brilliant as a rainbow. In a village lamp in the evening, revealing candidness, dispelling shadows, still keeping the dharma gate wide open, with flowing and splashing, clearing and counting the myriad spiritual beings and the journey of heaven and earth, wearing a cloak of glow, traveling the world.
In the transformation of time and space, the poet's vision returns to the real earth again, welcoming a new dawn and the divine light from the universe! Touching the ancient pain, as if stretching among countless mountains, the fleeting shadow of the universal dumb whip, flashing over the vast wilderness, bringing endless roars! Driving all the singing rivers to the seashore.
The poet was filled with all kinds of emotions, standing above the lake of his native land and looking longingly at the magnificent scenery of the earth. Such an ideal and imagination is no less than discovering a Peach Blossom Spring.
VII. In the poem "Beyond, Appearing and Disappearing":
"A burst of chirping / pecks the engine of the morning dream / The wind / An invisible robe bestowed by the gods upon all things / Plays with the birth of those in pain / In the historical time and space / Life is like a marginal ball that is too fast to catch"
In such a morning dream, I must have heard sounds from celestial bodies. Perhaps the chirping of a flock of birds became the golden key to unlock the morning dream and also the secret that cannot be revealed. When a new fairy tale of this world emerges, it is without reason and naturally formed. It is such a miracle that only poets can gaze upon its trajectory. There must be an invisible giant wearing a wind-like cloak. It is as fleeting as a flash and as precious as a moment.
This is the beauty of time. This is the power of poetry!
December 22, 2022, Winter Solstice, Yanchi.
Zhang Lian, a native of Yanchi, Ningxia, was born in 1967 and is a member of the Chinese Writers' Association. He is a contemporary original ecological naturalist poet, writer, critic, and editor. He is the founder, leader, and promoter of "Village Poetry" at the end of the 20th century, and the initiator of "China Grassroots Poetry Tribe". His works have been included in more than a hundred anthologies such as "Centennial Ceremony of New Chinese Poetry", "Chinese Literature Series 2001-2010 in the 21st Century" poetry volume, "The Complete Poems of the Middle Generation", "Appreciation and Collection of Cross-Strait Poetry in the 21st Century", etc. He has published 10 poetry collections, and his works have been translated into foreign languages such as Japanese, English, and Spanish. His American bilingual poetry collection "Evening Collection" was published by Floating World Press in August 2022. In 2003, he won the Spirit Award of the first Folk Poetry Award of "Independence", was nominated for the 2018 First East-West Poets Award, and won the Outstanding Contribution Award of the 2018/2021 Chinese Poets' Annual Poetry Award! He is the chief editor of the large-scale Chinese poetry historical materials series "Selected Chinese Rural Poems".
在那无眠的长空下
◎马勇
星星
枕着白日遗落的梦
无眠的长空下
黑夜飘地……
红日卷起千尺浪
体系爆涨
解析价值标杆
抢渡无限风光在险峰
下界
寒潮正浓
血染的风彩缩骨的瘦
远方，河岸噬咬
囚禁激情野化虎啸
一汪窒息的亮毛
大地，怀揣养育万物的欣慰
人类，蒙面走过一个摸黑的正午
晁一民导读：云南诗人马勇这首《在那无眠的长空下》，从诗歌作品标题就向读者道出了时间和方位，“无眠的”，时间上判断，应该是黑夜，或者黑夜即将过去白天即将到来的时刻。“长空下”，这长空显得高远而又辽阔，诗歌一开始就把我带入了一个巨大的黑洞一样，让我思绪缥缈，极想寻找到一个抓手（目标），对这首诗歌一探究竟。
星星
枕着白日遗落的梦
无眠的长空下
黑夜飘地……
红日卷起千尺浪
诗歌第一自然段，“星星/枕着白日遗落的梦”，星星枕着白日遗落的梦，这个梦是黑夜里的天空，把黑夜里的天空比作白日遗落的梦，星光一样引人遐思。“无眠的长空下/黑夜飘地……/红日卷起千尺浪”。无眠的天空下黑夜飘地，应该是黎明时分，黑夜飘落在地上，星星和黑夜即将消失，随之而来的，是“红日卷起千尺浪”，红日喷薄而出，朝霞满天，层层红云漫卷像厚厚的一千尺浪花一样，在这里，特定的时刻，像影视中的特写镜头，黑夜落地，红日东升，红云漫卷，一个动态的画面闪现在读者面前，仿佛在注视的过程中能听到黑夜落地和红云漫卷的声音来，视觉转化为听觉，让人心动而转化为了触觉，由视觉、听觉、触觉转化为感受（感觉），诗句的诗意形象就显得生动起来，汹涌澎湃地扑面而来。让人感觉到长空下日出的壮观和美丽！“千尺浪”的夸张意境，对于诗歌创作夸张写作技法的运用比较贴切，与唐代诗人李白诗句“白发三千丈”、“飞流直下三千尺”有着异曲同工之妙。
体系爆涨
解析价值标杆
抢渡无限风光在险峰
下界
寒潮正浓
血染的风彩缩骨的瘦
旭日东升，诗人继而给读者展现出“无限风光在险峰”的画面，红日之下，云腾雾绕在山峰之上，形成旖旎风光，勾勒出天下江山壮美景象。随之，“下界/寒潮正浓/血染的风彩缩骨的瘦”，下界寒潮正浓，指的是冬天，血染的风彩缩骨的瘦，指的是红光笼罩下，山上的树木苍枝裸露，“缩骨的瘦”，显示出枯叶飘零的枝头寒风瑟瑟，一个“瘦”字，形象地勾勒出冬天山野的风貌。把冬天的山野笼罩在霞光里的景象展现出来，比作“血染的风采”，其中蕴含的深意，引人沉思。
远方，河岸噬咬
情野化虎啸
一汪窒息的亮毛
红日，霞光，云层，险峰，再往下，是远处的河岸噬咬，这“噬咬”二字，勾勒出河岸像张开的大嘴仿佛在吞吃的形象，在晨光之下，吞吃着晨光。“囚禁激情野化虎啸”，河岸的大嘴吞吃的激情中，仿佛传来了虎啸的声音，这声音是寒风吹过山林的声音和吹过河岸的声音，惊心动魄！“一汪窒息的亮毛”，把冰封的河流比作亮毛，就像虎身涌现在河流中一样，也是初升的红日光照在河里的样子。到此，一幅完整的旭日东升光照大地的画面呈现出来，惊心动魄中又美不胜收！
大地，怀揣养育万物的欣慰
人类，蒙面走过一个摸黑的正午
东方日出，大地怀揣养育万物的欣慰！人类呢？联想到诗歌标题《在那无眠的长空下》，无眠的长空下，人类像蒙着面一样走过，走过哪里？走过一个摸黑的正午，可以看出，彤红的霞光消失之后，天空接近正午又仿佛黑暗起来，仿佛又要下雪？诗人在文末用最后一行文字制造出来的意境，很让我摸不着头脑，思绪也戛然而止，这也许就是诗人“无眠的”结局吗？晨光中，江山是唯美的，面对这壮观美丽动人的天下风景，我们应该沉浸在美好生活中，去品味，去探索，去思考，去创造美好！哪怕去迎接一个阴霾的仿佛又要飘雪的寒冷的正午……
作者简介：晁一民，本名晁佃荣，笔名大上，山东临沂人。中国收藏家协会会员，中华诗书画派成员，中国国学研究会研究员，中国诗歌学会会员，山东省作家协会会员，临沂市传承书画艺术中心主任、蒙山国画院院长，《当代作家书画家》总编，《中国诗人年度诗歌选集》主编。已出版诗歌理论专著（新诗创作函授教材）《新诗艺术创作初探》。著有随笔集《书画与古玩收藏杂谈》、《学书杂谈》、小说集《情归何处》等多部文集，创作诗歌作品千余首，《天修研究院》（小说电影连续剧）策划师、原创著作者。
Under the Sleepless Sky
◎ Ma Yong
Stars
Rest their heads on the dreams left behind by the day
Under the sleepless sky
The night floats...
The red sun rolls up thousands of feet of waves
The system explodes
Analyze the benchmark of value
Cross the dangerous peak to enjoy the boundless scenery
The lower realm
The cold wave is intense
The blood-stained splendor and the bony thinness
In the distance, the river bank gnaws
Imprison the passion and wilden the tiger's roar
A pool of suffocating bright hair
The earth, carrying the joy of nurturing all things
Human beings, walk masked through a dark noon
Chao Yimin's Introduction: This poem "Under the Sleepless Sky" by the Yunnan poet Ma Yong tells readers the time and position from the title of the poem. "Sleepless", judging from the time, it should be night, or the moment when night is about to pass and day is about to come. "Under the sky", this sky seems lofty and vast. At the beginning of the poem, it brings me into a huge black hole, making my thoughts float and eager to find a handle (goal) to explore this poem.
Stars
Resting on the dreams left behind in the day
Under the sleepless long sky
The night is drifting...
The red sun rolls up thousand-foot waves
In the first paragraph of the poem, "Stars / Resting on the dreams left behind in the day", the stars are resting on the dreams left behind in the day. This dream is the sky in the night, comparing the sky in the night to the dreams left behind in the day, which is as fascinating as the starlight. "Under the sleepless long sky / The night is drifting... / The red sun rolls up thousand-foot waves". Under the sleepless sky, the night is drifting. It should be dawn. The night is falling to the ground. The stars and the night are about to disappear. What follows is "The red sun rolls up thousand-foot waves". The red sun emerges vigorously, with rosy clouds all over the sky, and the layers of red clouds are rolling like thick thousand-foot waves. Here, at a specific moment, like a close-up shot in a film or television, the night falls to the ground, the red sun rises in the east, and the red clouds are rolling. A dynamic picture flashes before the readers, as if one can hear the sounds of the night falling and the red clouds rolling during the gaze. The vision is transformed into hearing, which makes people's hearts flutter and then transformed into touch. The poetic image of the verse becomes vivid, surging towards us vigorously. It makes people feel the magnificence and beauty of the sunrise under the long sky! The exaggerated artistic conception of "thousand-foot waves" is quite appropriate for the use of exaggeration in poetry creation, which has the same effect as the verses of the Tang Dynasty poet Li Bai, such as "White hair reaching three thousand zhang" and "The waterfall plunges three thousand feet".
The system surges
Analyze the value benchmark
Cross the dangerous peak to enjoy the boundless scenery
The lower realm
The cold wave is intense
The blood-stained charm and the bony thinness
The rising sun in the east, and then the poet presents to the readers the scene of "The boundless scenery lies on the dangerous peak". Under the red sun, clouds and mists are swirling above the peak, forming a charming scenery and outlining the magnificent scene of the world. Subsequently, "The lower realm / The cold wave is intense / The blood-stained charm and the bony thinness", the intense cold wave in the lower realm refers to winter. The blood-stained charm and the bony thinness mean that under the red light, the trees on the mountain are bare with withered branches. The "bony thinness" shows that the branches with fallen leaves are shivering in the cold wind. The word "thin" vividly sketches the appearance of the mountains and fields in winter. Presenting the scene of the mountains and fields in winter shrouded in the rays of the glow as "The blood-stained charm", the profound meaning contained therein makes people ponder.
In the distance, the riverbank gnaws
The wild passion turns into the tiger's roar
A pool of suffocating bright fur
The red sun, the rays of sunlight, the clouds, the perilous peaks. Further down, it is the distant riverbank gnawing. The word "gnawing" depicts the image of the riverbank like an open big mouth seemingly swallowing. Under the morning light, it is swallowing the morning light. "The imprisoned passion turns wild into the tiger's roar". In the passion swallowed by the big mouth of the riverbank, it seems that the sound of the tiger's roar comes. This sound is the sound of the cold wind blowing through the mountain forest and the riverbank, thrilling! "A pool of suffocating bright fur", comparing the frozen river to bright fur is like the tiger's body emerging in the river. It is also the appearance of the newly risen red sun shining in the river. Up to this point, a complete picture of the rising sun shining on the earth emerges, thrilling and beautiful!
The earth, with the gratification of nurturing all beings
Human beings, walking masked through a dark noon
The sun rises in the east, and the earth holds the gratification of nurturing all beings! What about human beings? Associated with the title of the poem "Under the Sleepless Vault of Heaven", under the sleepless vault of heaven, human beings walk as if masked. Where do they walk? Through a dark noon. It can be seen that after the crimson glow of the dawn disappears, the sky approaches noon but seems dark again, as if it is going to snow again? The artistic conception created by the poet with the last line of the text at the end of the poem really confuses me, and my thoughts come to an abrupt halt. Could this be the "sleepless" ending of the poet? In the morning light, the landscape is beautiful. Facing this magnificent, beautiful and touching scenery of the world, we should immerse ourselves in a good life, to taste, to explore, to think, and to create beauty! Even to welcome a gloomy, cold noon as if it is going to snow again...
Author's Profile: Chao Yimin, originally named Chao Dianrong, pseudonym Dashang, is from Linyi, Shandong Province. He is a member of the China Collectors Association, a member of the Chinese Poetry, Calligraphy and Painting School, a researcher of the China Sinology Research Society, a member of the China Poetry Society, a member of the Shandong Writers Association, the director of Linyi Inheritance Painting and Calligraphy Art Center, the president of Mengshan Chinese Painting Academy, the chief editor of "Contemporary Writers, Painters and Calligraphers", and the chief editor of "Annual Poetry Anthology of Chinese Poets". He has published a monograph on poetry theory (correspondence teaching material for new poetry creation) "Preliminary Exploration of New Poetry Artistic Creation". He has written several collections of essays such as "Random Talks on Painting, Calligraphy and Antiques Collection" and "Random Talks on Learning Calligraphy", a collection of novels "Where Does Love Return", etc. He has created more than a thousand poetry works and is the planner and original author of "Institute of Heavenly Cultivation" (novel, film and TV series).
天马行空
——云南诗人马勇诗歌想象力初窥
◎晁一民（山东）
读云南诗人马勇诗歌作品，最能打动我的是他诗歌想象力的奔突跳跃，犹如天马行空，灵气尽显，洒脱豪放，大有江河奔腾之势，又如暗流汹涌，富有很强大的冲击力，形成了他诗歌作品的一大特色。
诗人马勇出生于云南昭通市，1991年毕业于云南农业大学，为昭通市农业科学院高级农艺师，业余爱好诗歌创作，有许多作品发表和获奖，曾出版《闪过的意象》、《朝阳之梦》、《灵魂的眼睛》、《疼痛的心灵与泪花》四部诗集，系中国诗歌学会会员、中华诗书画派重要成员、云南省作家协会会员。
在他的诗歌作品《神韵》中，“漫向远山的绿叶/表达着自己光合作用的辉煌/构架的诗语模板/闪烁”，绿叶由近向远排列到远山，是何等波澜壮阔，像构架的诗语模板，闪烁在阳光下，诗语，诗境，诗意，都给读者创造出了气势磅礴的生长空间，这也是诗歌的生长空间，更是诗人想象力的生长空间，继而，“海疆/老屋的炊烟/薰暗了黄昏的脸颊”，这脸颊就是天空，“苍穹挂起/照彻宇宙的灯笼”，这灯笼就是月亮，“平原/成了躺着的巨人”，“喜马拉雅山的头颅/紧贴天空”，河流裸露的血管奔流不息/神灵抛下橄榄枝/下界/让人间和顺吉祥”。这神韵，是大自然的神韵，是人间祥和的神韵，通过诗歌中涌现的意象和比拟，展示出诗人想象力的奇特多彩。
可以说，诗人的想象力，就是诗人的创作天赋，通过熟能生巧，运用艺术化思维，随着经验的积累沉淀出来的，并非一朝一夕形成的思维能力，所以说，诗人的想象力有天生的一部分，大多部分是通过个人的努力探索和学习培养出来的，云南诗人马勇就已经具备了这个能力，在他的多首诗歌作品中都能看出来。
他的诗歌作品《百鸟云集》“朝阳腼腆/扯块薄云半遮面/羞涩的红霞发布广袤的蓝天/大海试探意欲迎娶/浪花司仪/蜂蝶贺语采点放飞/香江腾跃蜿蜓莅临/疆域口岸/百鸟云集/深海星空/洞房花烛夜”，朝阳能腼腆，薄云半遮面，羞涩的红霞，广袤的蓝天，百鸟云集，深海星空，洞房花烛夜，这些不相干的意象句排列在一起，烘托出了一场盛大的婚礼，这婚礼不是人类能举办的，是诗人通过百鸟云集想象出来的，是铺天盖地惊天动地的，是诗人描述大自然“幸福时刻”诗思泉涌的艺术结晶，是诗人创作灵感爆发后，按照主题思维去想象展现出来的诗歌境界，是诗人通过想象力生发出来的奇思妙想
《灵禅》同样发挥出了诗人马勇超凡脱俗的想象力：“星晖/勤勉/努力点亮黑魆魆的夜空”，大意是星晖点亮夜空，“古老的流向/携沿岸风情/侧身嵌入大海雄阔的疼痛”这里的大海可以理解为星海，也可以理解为大地上的大海，“坎坷地貌/千姿百态/禾苗纯朴的拔节声清澈见底/生长/苦吟/蓓芽喜悦/神灵弹指间引光河之水/滞留酒杯里的月色/酣畅淋漓”这一段诗句对现实世界做了真实的描述，与“星海”产生了鲜明的对比，一个天上，一个地下，有着天壤之别，又有着共同的关联，酒水一杯，能容纳月色，能容纳虚实，这也是《灵禅》表达出来的哲理思考，给读者创造出一个想象的空间，引发共鸣。
诗人的想象力最主要的表达方式，是通过思考和联想来完成，把思考和联想的结果记录下来，按照诗歌体裁写作要求，通过艺术加工，才能创作出一首完美的诗歌作品。诗人想象的过程，也是诗歌作品的创作过程，只有抓住创作灵感忽至的瞬间，组词造句，才能创作出一首好诗。
《袅袅意象》也展示出诗人马勇较高的想象力和诗歌创作能力，“玄空驾雾/穿云而过的鸟群/哨音/轻抹起伏山峦/漫涯消遁/闪电/行大地/雷声追尾/雨，让天下万物喜不胜喜/静夜的风/降低了喘息的呼啸”，云雾，鸟群，山峦，闪电，雷声，雨，风，喘息的呼啸，通过诗人的发现和联想，写出了夏天的物语。“阳光造型/树冠丰茂/意象上扬/探视梯田玉米/吐丝、授粉/我写完/季节变奏曲后/将目光投向巨浪昂首的大海”，这季节的变奏曲，是夏秋交替，诗人通过诗歌意象，讲述了大自然的生生不息和交替轮回，烘托出生命的自然成长规律和顽强的生存状态。
诗人的想象力完全为诗歌的创作主题服务，如果脱离了诗歌创作主题去想象，毫无约束，那就是胡思乱想，那就是异想天开，会像无根之木，没有生命力。
诗人的想象力还体现在诗歌的写实、比喻、拟人、夸张等诗歌创作技法的运用，观察和感悟独到，如果没有纵深的联想，没有丰富的想象，要想写出耐人寻味的、动人心魄的、引人共鸣的、词语表达完美的诗歌作品是很难做到的。因此，诗人的想象力决定着一首诗歌的优劣。
而对于普通人来说，普通人看事物，就是事物，没有联想，没有想象，也很难进入艺术作品的创作状态，更无法开拓读者的想象空间，创作也就失去了价值和意义。诗人的想象天赋赋予了诗人伟大的使命，只有不懈的努力，才能取得璀璨的成果，诗人马勇做到了，他天马行空般的想象力，令人刮目相看。
作者简介
晁一民，本名晁佃荣，笔名大上，山东临沂人。中国收藏家协会会员，中华诗书画派成员，中国国学研究会研究员，中国诗歌学会会员，山东省作家协会会员，临沂市传承书画艺术中心主任、蒙山国画院院长，《当代作家书画家》总编，《中国诗人年度诗歌选集》主编。已出版诗歌理论专著（新诗创作函授教材）《新诗艺术创作初探》。著有随笔集《书画与古玩收藏杂谈》、《学书杂谈》、小说集《情归何处》等多部文集，创作诗歌作品千余首，《天修研究院》（小说电影连续剧）策化师、原创著作者。
Unrestrained Imagination
— A Preliminary Glimpse of the Poetic Imagination of Ma Yong, a Poet from Yunnan
◎ Chao Yimin (Shandong)
When reading the poetry works of Ma Yong, a poet from Yunnan, what impresses me the most is the leaping and surging of his poetic imagination, just like a heavenly steed soaring across the sky. It shows his brilliance, freedom and boldness, having the momentum of a surging river, and also like a turbulent undercurrent, full of powerful impact, forming a major feature of his poetry works.
The poet Ma Yong was born in Zhaotong City, Yunnan Province. He graduated from Yunnan Agricultural University in 1991 and is a senior agronomist at the Zhaotong Academy of Agricultural Sciences. He loves poetry creation in his spare time. Many of his works have been published and won awards. He has published four poetry collections, namely "Flashing Images", "Dream of the Rising Sun", "Eyes of the Soul", and "Painful Hearts and Tears of Sadness". He is a member of the Chinese Poetry Society, an important member of the Chinese Poetry, Calligraphy and Painting School, and a member of the Yunnan Writers' Association.
In his poetry work "Divine Charm", "The green leaves spreading towards the distant mountains / Express the brilliance of their own photosynthesis / The framework of poetic language templates / Sparkling", the green leaves are arranged from near to far to the distant mountains. How magnificent it is! Like the framework of poetic language templates, sparkling in the sunlight. The poetic language, poetic realm, and poetic meaning all create a majestic growth space for readers. This is also the growth space of poetry and even more the growth space of the poet's imagination. Then, "The coastal areas / The smoke from the old house / Darkened the cheek of dusk", this cheek is the sky. "The firmament hangs / The lantern that illuminates the universe", this lantern is the moon. "The plain / Has become a lying giant" "The head of the Himalayas / Is close to the sky", The exposed blood vessels of the river flow ceaselessly / The gods throw down the olive branch / To the lower realm / Making the world harmonious and auspicious. This divine charm is the divine charm of nature and the divine charm of harmony in the human world. Through the images and comparisons emerging in the poetry, it shows the peculiar and colorful imagination of the poet.
It can be said that the imagination of a poet, which is the creative talent of a poet, emerges through practice makes perfect, the application of artistic thinking, and the accumulation and precipitation of experience. It is not a thinking ability formed overnight. Therefore, the imagination of a poet has an inborn part, but most of it is cultivated through personal efforts in exploration and learning. Yunnan poet Ma Yong already possesses this ability, which can be seen in many of his poetry works.
His poetry work "Hundred Birds Gathering" "The morning sun is coy / Pulling a thin cloud to half cover its face / The shy red glow announces the vast blue sky / The sea attempts to propose for marriage / The waves act as the master of ceremonies / Bees and butterflies' congratulatory words are picked and released / The Xiangjiang River leaps and winds its way to arrive / At the territory's port / Hundred birds gather / Deep-sea and starry sky / The wedding night", The coy morning sun, the thin cloud half covering the face, the shy red glow, the vast blue sky, the gathering of hundred birds, the deep-sea and starry sky, the wedding night, these unrelated imagery sentences are arranged together, setting off a grand wedding. This wedding is not something that humans can hold. It is imagined by the poet through the gathering of hundred birds. It is overwhelming and earth-shattering. It is the artistic crystallization of the poet's abundant poetic thoughts when describing the "happy moment" of nature. It is the poetic realm displayed by the poet's imagination according to the thematic thinking after the burst of creative inspiration. It is the wonderful and ingenious idea generated by the poet through imagination.
"Spiritual Meditation" also demonstrates the extraordinary and refined imagination of the poet Ma Yong: "Starlight / Diligence / Trying hard to illuminate the pitch-black night sky", the general meaning is that the starlight illuminates the night sky. "The ancient flow / Carrying the customs along the coast / Sideways embedded in the vast pain of the sea" Here, the sea can be understood as the sea of stars or the sea on the earth. "Rugged terrain / In all kinds of poses / The pure jointing sound of the seedlings is crystal clear / Growing / Groaning / The joy of the buds / The gods flick their fingers to lead the water of the river of light / The moonlight detained in the wine cup / Heartily and vividly" This section of the poem makes a real description of the real world and contrasts sharply with the "sea of stars". One is in the sky and the other is on the earth, with a huge difference but also a common connection. A cup of wine can hold the moonlight and both the real and the virtual. This is also the philosophical thinking expressed in "Spiritual Meditation", creating an imaginative space for readers and triggering resonance.
The main way for a poet's imagination to express itself is accomplished through thinking and association. Record the results of thinking and association, and through artistic processing in accordance with the writing requirements of the poetry genre, a perfect poetry work can be created. The process of a poet's imagination is also the process of creating a poetry work. Only by seizing the sudden moment of creative inspiration and forming words and sentences can a good poem be created.
"Niaoniao Images" also demonstrates the poet Ma Yong's relatively high imagination and poetic creation ability. "Floating in the void and fog / The flocks of birds passing through the clouds / The whistles / Gently touching the undulating mountains / Disappearing on the horizon / Lightning / Traveling across the earth / Thunder chasing after / Rain, making all things in the world overjoyed / The wind in the still night / Reducing the panting and whistling". Clouds and fog, flocks of birds, mountains, lightning, thunder, rain, wind, panting and whistling, through the poet's discovery and association, write the language of summer. "Sunlight shaping / The tree crowns are lush / The images rise / Peering at the corn in the terraced fields / Silking and pollinating / After I finish writing / The variation of seasons / I turn my gaze to the sea with surging waves". This variation of seasons is the transition from summer to autumn. Through poetic images, the poet tells of the endlessness and alternation of nature, highlighting the natural growth law and tenacious survival state of life.
The imagination of a poet is completely at the service of the theme of poetry creation. If one imagines independently of the theme of poetry creation without any restraint, it is just wild fantasy, whimsical thinking, and would be like a rootless tree without vitality.
The imagination of a poet is also reflected in the application of techniques such as realism, metaphor, personification, and hyperbole in poetry creation. With unique observation and perception, it is very difficult to write thought-provoking, soul-stirring, resonant, and perfectly worded poetry works without in-depth association and rich imagination. Therefore, the imagination of a poet determines the quality of a poem.
For ordinary people, when they look at things, they are just things. There is no association, no imagination, and it is difficult for them to enter the creative state of artistic works, nor can they expand the imagination space of readers. Thus, creation loses its value and meaning. The imaginative talent of poets endows poets with a great mission. Only through unremitting efforts can brilliant achievements be made. The poet Ma Yong has achieved this. His unrestrained imagination is impressive.
Author Profile: Chao Yimin, originally named Chao Dianrong, pseudonym Dashang, is from Linyi, Shandong Province. He is a member of the China Collectors Association, a member of the Chinese Poetry, Calligraphy and Painting School, a researcher of the China Sinology Research Institute, a member of the China Poetry Society, a member of the Shandong Writers Association, the director of Linyi Inheritance Painting and Calligraphy Art Center, the president of Mengshan Chinese Painting Academy, the chief editor of "Contemporary Writers, Painters and Calligraphers", the chief editor of "Annual Poetry Anthology of Chinese Poets". He has published a monograph on poetry theory (correspondence teaching materials for new poetry creation) "Preliminary Exploration of New Poetry Artistic Creation". He has written several collections of essays such as "Miscellaneous Talks on Painting, Calligraphy and Antiques Collection", "Miscellaneous Talks on Learning Calligraphy", the collection of short stories "Where Does Love Belong", and has created more than a thousand poetry works. He is the planner and original author of "Institute of Heavenly Cultivation" (novel, film and TV series).
诗人马勇笔下的“春种秋收图”
——从云南诗人马勇两首诗歌作品感受诗人
对农村农民的炙热情怀
◎晁一民（山东）
世界上最大的事情，莫过于土地的春种秋收，因为春种秋收，是解决食物的最原始也是最现实的一种获取方式，民以食为天，也就是说的这个道理，因此食物的获取，对于人类来说是天大的事情，农村和农民也就成为了最值得讴歌的劳动者。
云南诗人马勇1991年毕业于云南农业大学，为昭通市农业科学院高级农艺师，与农村农业有着千丝万缕割舍不断的关系，他所创作的写农民春种秋收的诗歌作品，特别引起了我的注意。
诗人马勇在《修剪晨辉的潦草》一诗中写到：“谁的歌声 嘹亮/响彻云霄/雨在下/风 跑在前面/洞穴/藏有千古灵魂的影子”。据记载，诗歌源于劳动者嗨吆嗨吆的号子，有韵律，齐声呼喊，声震八荒，响彻云霄，蔚为壮观，震撼人心，因此，这种劳动人民发出的“歌声”衍生出了具有韵律的诗歌作品，劳动者嗨吆嗨吆的号子声，既是劳动人民最原始的呼声，也是文化和文明的起源，历经风雨和岁月沧桑，也依然改变不了原始人类的生活场景和面貌，激励后人领会劳动的内涵与价值，看到“千古灵魂的影子”，这种对劳动者深沉的爱，是发自肺腑的爱，是传承发展的爱，是感天动地吟诵农民顽强生存的大爱！
“梦中的雷鸣喊醒我/稻香又过万重山/落霞覆盖着大海的 惊愕/昆虫破土/露珠滴润/黑白相间的飞燕/修剪着/晨辉漫溢的潦草”，梦，雷鸣，呼喊，稻香，万重山，落霞，大海，昆虫破土，露珠滴润，飞燕修剪晨辉，这些意象铺展开来，诗人联想到的与现实中的惊蛰交相辉映，一声春雷，田园景象纷至沓来，农民勤劳春种盼望秋收的喜悦在诗行中汹涌澎湃，喜不自禁。“飞燕修剪着晨辉漫溢的潦草”，为接下来的诗行做出了鲜明的铺垫：“田间农友/适时播下了秋收的喜悦”。
《修剪晨辉的潦草》春种时节的农村，在诗人马勇笔下呈现出一幅美好的田园风光图，实录与联想并重，给诗歌作品增强了艺术感染力。
《镰刀与稻谷》一诗是描述秋收景象的诗歌作品，诗人马勇在诗中写到：“一道休眠的亮色/从逼窄的墙角昂起/与糙裂的手茧相握/闪现着隔年的记忆/漫过农人待挥的手臂”，挂在墙角的镰刀又重新拿在农民手中，这说明要秋收了。
“昨夜月光下/我这黄色的年轻谷穗/竖起了尖巧的耳朵”，诗歌拟人化写作是诗人常用的创作技法，在《镰刀与稻谷》这首诗歌中，“月光下，我这黄色的年轻谷穗/竖起了尖巧的耳朵”，可谓是神来之笔，展现出了即将秋收的丰收景象，连田野上的谷穗都心动了：“渴盼你那/超薄的嘴唇把我摆平/然后再用“弓”字的情怀/把我揽进已架好的栅栏/随负重的哞声/走进伫候山麓烟枭中/那枚微醉的夕阳”。
谷穗“渴盼”“超薄的嘴唇”把我摆平，指的是镰刀收割，“负重的哞声”指的是老牛的叫声，连夕阳都看的“微醉”了，这种美妙的诗歌境界，表达出诗人沉浸于丰收的喜悦和诗歌创作的快意，镰刀，农民，谷穗，诗人，诗情，在月光下和夕阳下，在这丰收季节，都在闪闪发光一样，引人注目和心动。
诗人马勇对诗歌创作技法的把握精准独到，想象奇特又在情理之中，现实与联想，生活与艺术，犹如乳水交融，金光灿灿，耀眼夺目，使得诗歌韵味悠长，提高了作品的可读性，令读者在浮想联翩中体会到了农民的春种秋收乐趣，欣赏到了不可多得的抒写农民的优秀佳作，感受到了诗人对农村农民的炙热情怀。
诗人马勇这些年创作丰硕，先后由国家级出版社出版了《闪过的意象》、《朝阳之梦》、《灵魂的眼睛》、《疼痛的心灵与泪花》四部诗集，诗歌作品多有发表和获奖，是中国诗歌学会会员、中华诗书画派重要成员、云南省作家协会会员，是一位从云南走向全国的著名诗人，他的诗歌作品得到了全国众多诗人和评论家的关注与好评。
作者简介
晁一民，本名晁佃荣，笔名大上，山东临沂人。中国收藏家协会会员，中华诗书画派成员，中国国学研究会研究员，中国诗歌学会会员，山东省作家协会会员，临沂市传承书画艺术中心主任、蒙山国画院院长，《当代作家书画家》总编，《中国诗人年度诗歌选集》主编。已出版诗歌理论专著（新诗创作函授教材）《新诗艺术创作初探》。著有随笔集《书画与古玩收藏杂谈》、《学书杂谈》、小说集《情归何处》等多部文集，创作诗歌作品千余首，《天修研究院》（小说电影连续剧）策划师、原创著作者。
The "Spring Sowing and Autumn Harvest Picture" depicted by the poet Ma Yong
——Feel the passionate feelings of the poet towards rural farmers from two poetry works of Ma Yong, a poet from Yunnan
◎ Chao Yimin (Shandong)
The greatest thing in the world is the spring sowing and autumn harvest of the land. Because spring sowing and autumn harvest is the most primitive and realistic way to obtain food. Food is the paramount necessity for people. That is exactly what this means. Therefore, the acquisition of food is a matter of paramount importance for human beings, and rural areas and farmers have thus become the most worthy laborers to be eulogized.
Yunnan poet Ma Yong graduated from Yunnan Agricultural University in 1991. He is a senior agronomist at Zhaotong Academy of Agricultural Sciences and has an inseparable relationship with rural agriculture. His poetry works depicting farmers' spring planting and autumn harvest particularly caught my attention.
In the poem "Trimming the Scribbled Morning Glow", poet Ma Yong wrote: "Whose song is so resonant / Resounding through the clouds / The rain is falling / The wind is running ahead / The cave / Hides the shadow of the ancient soul". It is recorded that poetry originated from the chants of laborers, which were rhythmic, shouted in unison, shaking the eight wilds and resounding through the clouds. It was magnificent and thrilling. Therefore, this "song" emitted by the working people gave rise to poetry works with rhythm. The chanting sounds of laborers were not only the most primitive voices of the working people but also the origin of culture and civilization. After going through ups and downs and years of vicissitudes, the original life scenes and appearances of primitive humans have remained unchanged. It inspires future generations to understand the connotation and value of labor and see the "shadow of the ancient soul". This deep love for laborers is from the bottom of the heart, is love for inheritance and development, and is a great love that touches the heaven and earth and chants the tenacious survival of farmers!
The thunder in the dream woke me up. / The aroma of rice spread over countless mountains. / The setting glow covered the astonishment of the sea. / Insects broke through the soil. / Dewdrops moistened. / The black and white flying swallows / trimmed / the carelessly overflowing morning glow. These images such as dream, thunder, shout, the aroma of rice, countless mountains, setting glow, the sea, insects breaking through the soil, dewdrops moistening, and flying swallows trimming the morning glow, unfolded, and what the poet associated with interplayed with the Awakening of Insects in reality. A spring thunder, rural scenes came in succession, and the joy of farmers' diligent spring sowing and looking forward to autumn harvest surged and couldn't be contained in the lines of the poem. "The flying swallows trimmed the carelessly overflowing morning glow", made a distinct foreshadowing for the following lines: "Farm friends in the fields / timely sowed the joy of autumn harvest".
"Trimming the Scribbled Morning Glow" In the rural area during the spring sowing season, a beautiful idyllic scene is presented under the pen of the poet Ma Yong. Equal emphasis is placed on factual recording and association, enhancing the artistic appeal of the poetry works.
"The Sickle and the Rice" is a poetry work depicting the autumn harvest scene. In the poem, the poet Ma Yong writes: "A dormant bright color / Raises up from the narrow corner / Grasps with the rough and cracked calluses / Flashing memories from the previous year / Overflowing the farmer's waiting arm to wave". The sickle hanging on the corner is taken up again in the farmer's hand, indicating that the autumn harvest is coming.
"Last night under the moonlight / My young yellow ears of rice / Erect sharp and ingenious ears". Personification in poetry writing is a common creative technique used by the poet. In the poem "The Sickle and the Rice", "Under the moonlight, my young yellow ears of rice / Erect sharp and ingenious ears" can be regarded as a divine touch, presenting the harvest scene of the upcoming autumn harvest. Even the ears of rice in the field are moved: "Longing for your / Ultra-thin lips to lay me flat / Then with the sentiment of the 'bow' character / Pull me into the already set up fence / Along with the burdened mooing sound / Walk into the smoke of the mountain foothills waiting / That slightly drunk setting sun".
The ears of grain "long for" the "ultra-thin lips" to lay me flat, referring to the harvesting by sickles. The "burdened mooing" refers to the cries of the old ox. Even the setting sun seems "slightly drunk". This wonderful poetic realm expresses the poet's immersion in the joy of harvest and the pleasure of poetic creation. Sickles, farmers, ears of grain, poets, poetic sentiments, under the moonlight and the setting sun, in this harvest season, all seem to be shining, attracting attention and touching people's hearts.
The poet Ma Yong has an accurate and unique grasp of the techniques of poetic creation. His imagination is peculiar yet reasonable. Reality and association, life and art, are like a perfect blend, shining golden and dazzling, making the poetry have a long-lasting charm, improving the readability of the works, allowing readers to experience the joys of farmers' spring sowing and autumn harvest in their reveries, appreciate the rare and excellent works depicting farmers, and feel the poet's passionate feelings towards rural farmers.
The poet Ma Yong has had a rich harvest of creations in recent years. Four poetry collections, namely "The Flashing Images", "The Dream of the Rising Sun", "The Eyes of the Soul", and "The Painful Heart and Tears", have been published by national-level publishing houses successively. His poetry works have been frequently published and awarded. He is a member of the Chinese Poetry Society, an important member of the Chinese Poetry, Calligraphy and Painting School, and a member of the Yunnan Writers' Association. He is a famous poet from Yunnan who has made his way to the whole country. His poetry works have received attention and praise from many poets and critics across the country.
我一直相信天空的颜色是永恒的——读马勇《疼痛的心灵与泪花》有感
姜群
有感而发的诗，涌动着生命的激情、豪迈，无病呻吟的诗，像散逛的浪子。当我读到马勇的这几句话时，一下子就被吸引了。就如同我相信永恒一样，看着眼前的四百多首有生命力的短诗，我几乎一气呵成地读完。
所谓诗之法，无外乎简洁，抒情，柔和，自由而绝非故作。说实话看这个诗集的题目显得有点沉重，但是仔细通读了全篇又感受到了作者对生活的热爱和内心的火热。
诗歌的创作多种多样，尤其是新诗，大家知道新诗在中国的发展也不过百余年的光景。我们都还在学习的路上 ，还有很大的发展空间值得我们学习和探索。诗歌的写作最终也离不开真善美三个字 。善美这两个相对比较好解释了。 真字我认为除了真实以外 ，也包括丑的甚至恶的东西 ，而不是虚情假意和口号似的喊叫。比如诗人的这首
黄昏
低垂
雅鲁藏布江的哀思
气势磅礴
灌木林、藏羚羊
雄鹰……联袂鼓噪
朗读：一泻千里的
金光闪闪
虽然只是短短几句话，却把黄昏后的雅鲁藏布江畔写的有声有色。我们仿佛看到了藏羚羊和雄鹰的低鸣，在青藏高原的天空下人与自然浑然一体的意境。这种画面感非常强烈，让读者仿佛植入其中。人离不开自然，我们的文字也始终是自然力量主导下的人生符号。再比如这首
岩石团结得滴水不漏
放眼——
仙人击鼓
飞鸟射云
蔓延的残缺顺藤
摸瓜
花斑走兽
撞响森林
翠绿诗歌蜻蜓点染
独步烟云
守身如玉
这首诗的大气和意境更令人拍手叫绝。在我创作的三十年的经验上感觉，诗歌作为一种文学形式， 更适合个体的独立思考和解放 ，它让我们更理性更冷静地面对眼前的现实。
某种意义上说诗歌的真情实感，就是人类内心挣扎的过程和我们眼里看到心里想到的客观现实。包括丑的甚至恶的都需要我们用诗来记录它 。再比如这首
金子，离开了人的视线
等同沙泥
金子的光泽
填不饱贪婪的
荣华富贵……
血腥争夺
尸骨未寒——
这首小诗富有很强的哲理，时代在变，在这个物欲横流的社会，一些人对金钱的渴望其实都是短暂的。诗人在这里用鄙视的语言写下了金子一旦不为人所用就等同沙泥，分文不值。
诗歌不仅是歌功颂德 ，也要客观的反应出社会的现实甚至揭露出人性的丑恶。
前几年我们作协搞了一次专题培训会，诗人毕志也表达了和我一样的观点 。其实大家想一想 我们身边的诗歌绝大多数都是风花雪月或者歌颂的 ，缺少真实的客观的甚至批判的语言和声音。
诗歌是可以解开伤疤的，就看怎么去写去把握 。这个世界需要我们关注的东西太多了，世间万物本身都是对立的矛盾的，有欢乐就有忧愁 ，在我们写诗人的内心深处一定要有清醒的认识警觉。在这首诗里，我们可以看到诗人内心的痛楚和呈现。
封喉利刃
非一日之寒
破冰船扬长而去
水，噬咬着自己僵硬的家族
文化
刻刀
塑造自己的同时
划出道道沟壑
神鸟
衔石
阳光靠岸
过去有人常提忧患的意识 现在看来也不过时 。先抛开诗歌的成就和写的好坏不说 ，诗人本身要有忧患的意识 ，诗歌是解放我们苦闷心灵的一把钥匙 ，也是解放我们思想的老师 。再看这首
叶片是森林茂盛的细胞
云彩是雄鹰陪不够的风景
空气是不愿留名的默默奉献
雨露是强忍不住的受心热泪
春风是催生万物的奶娘
阳光是天宇坦诚的告白
诗人首先要立足人性的思考，然后才是怎样写的问题 。我强调的还是心灵深处不易察觉的诗歌本源的东西。诗人写到“春风是催生万物的奶娘”多么形象贴切的比喻啊。这就是诗歌语言的艺术感染力。其中诗歌语言的张力很重要，尤其现代诗歌语言也要有音乐感画面感包括转折也就是跳跃，诗歌的语言要有翅膀，这样才能让诗意飞翔。
诗歌也需要沉淀，语言也需要发酵的。一个好的诗人必须做到巧妙地运用暗喻隐喻，发挥语言的极限，而且不留技巧上的痕迹。
这些年我一直在思考这个问题。为什么要写诗？尤其在这个物欲横流的时代诗坛是如此的孤独， 我们还是要做这个寂寞文坛的守望者 就因为它凝聚着我们几千年文化的一种潜意识里的苏醒、自觉和对社会某种现象的救赎 ，也是文人风骨的一种体现。
诗歌可以用最简洁的语言和多种多样的表现手法，完成这个任务 让写诗的人和读者完成心灵的共鸣和相互的交融。
这也是诗歌存在的意义。
我们写诗一定要把内心深处的疼痛感写出来 就是把内心深处最真实的想法呈现给读者 达到天地人合一的语言境界。
在别人眼里凸现
我的外观
无私奉献
我的枯瘦
在自己的镜中
彼此谅解
我真实的步调
在神的庇护下
进退维谷
人性落差
如隔三秋
类似这种境界的语言在马勇的诗集里轻易可见。我认为好的诗歌离不开人性的写作和对人性的认知 。人类社会通过文学作品的滋养 有了对事物和自然的高度认知追求善良和美好 。短诗虽短但内涵不浅，尤其有意境有韵味的句子往往令人有更长久的回味。马勇的诗恰好迎合了我的口味。
古今中外所有伟大的诗人他们的内心都会装着大爱和大善 ，但是伟大的诗人毕竟是极少数的 。我们只是一群小小的诗歌爱好者 在这个社会上我们还很弱小 ，弱小到要为了生存拼命生活， 生活的沉重只能让我们退缩到诗歌里寻找慰藉 坚守灵魂和诗人要有的底线。
我始终认为，一个好的诗人一定“不要为了写诗而写诗”那样不会出现太好的作品。 诗歌一定要有感而发 ，只有发自心灵的感应才有可能碰触到彼此心灵的火花 ， 获得大家的认可和尊重。这里马勇基本做到了这一点。
马勇的诗简洁、纯净、朴实，没有过多的炫技和铺垫，只是娓娓道来，他就像一个生活阅历丰富的长者在轻轻地讲述他的内心世界，让大家看到他笔下的生活和容忍。我们有理由相信，诗人马勇通过自身的努力和对诗歌的追求，一定会在诗坛上熠熠生辉的，我们期待着这一天早日到来。
本文作者简介：
姜群，现任中国微信诗歌学会辽宁分会会长，辽宁诗人微刊执行主编。沈阳市和平区作协副主席，驼铃诗社社长。
I have always believed that the color of the sky is eternal
——Thoughts on Ma Yong's "The Painful Soul and Tears"
Jiang Qun
Poems that express one's feelings are surging with the passion and boldness of life. Poems that moan without being ill are like wandering libertines. When I read these words of Ma Yong, I was immediately attracted. Just as I believe in eternity, looking at more than 400 vigorous short poems before my eyes, I finished reading them almost in one go.
The so-called rules of poetry are nothing more than simplicity, lyricism, softness, and freedom, rather than being artificial. To be honest, looking at the title of this poetry collection seems a bit heavy, but after carefully reading the entire text, one can feel the author's love for life and the passion in his heart.
The creation of poetry is diverse, especially new poetry. As we all know, the development of new poetry in China has only been for a little over a hundred years. We are all still on the road of learning, and there is still much room for development worthy of our study and exploration. The writing of poetry ultimately cannot be separated from the three words of truth, goodness, and beauty. The meanings of goodness and beauty are relatively easier to explain. As for the word "truth", in my opinion, apart from reality, it also includes ugly or even evil things, rather than false sentiments and slogan-like shouting. For example, in the poet's this poem:
Dusk
Hanging low
The grief of the Yarlung Zangbo River
Magnificent
Shrub forests, Tibetan antelopes
Eagles... jointly making noises
Reading aloud: The glittering
Flowing freely for thousands of miles
Although it is only a few short sentences, it vividly describes the banks of the Yarlung Zangbo River after dusk. We seem to see the low cries of Tibetan antelopes and eagles, and the artistic conception of the harmony between man and nature under the sky of the Qinghai-Tibet Plateau. This sense of picture is very strong, making readers seem to be immersed in it. People cannot be separated from nature, and our words are always life symbols dominated by the power of nature. Another example is this poem
The rocks are united tightly without any leakage.
Look far into the distance -
The immortal beats the drum
The flying birds shoot at the clouds
The spreading incomplete follows the vine
Investigate by following clues
Spotted wild animals
Ring the forest
The emerald green poem is dotted by dragonflies
Walk alone in the mist and cloud
Remain chaste as jade
The grandeur and artistic conception of this poem are even more amazing. Based on my thirty years of creative experience, I feel that poetry, as a literary form, is more suitable for individual independent thinking and liberation. It enables us to face the current reality more rationally and calmly.
In a certain sense, the true feelings of poetry are the process of human inner struggle and the objective reality we see and think about in our hearts. Even the ugly and even the evil need us to record them with poetry. For example, this poem
Gold, out of human sight
Equivalent to sand and mud
The luster of gold
Can't fill the greed
High position and great wealth...
Bloody contention
The body is not yet cold --
This little poem is rich in strong philosophy. Times are changing. In this materialistic society, some people's desire for money is actually short-lived. Here, the poet wrote in contemptuous language that once gold is not used by people, it is equivalent to sand and mud and worthless.
Poetry is not only singing praises but also objectively reflecting the reality of society and even exposing the ugliness of human nature.
A few years ago, our Writers' Association held a special training session. The poet Bi Zhi also expressed the same view as me. In fact, if you think about it, the vast majority of the poems around us are about romantic affairs or praises, lacking real, objective and even critical language and voices.
Poetry can uncover scars, depending on how to write and grasp it. There are too many things in this world that need our attention. Everything in the world is inherently opposed and contradictory. There is joy and there is sorrow. In the hearts of us poets, we must have a clear awareness and vigilance. In this poem, we can see the pain and presentation in the poet's heart.
A sharp weapon to slit the throat
Not formed in a single day
The icebreaker left in a proud manner
Water, gnawing at its own stiff family
Culture
Carving knife
While shaping oneself
Drawing numerous gullies
Divine bird
Holding a stone
Sunshine landing on the shore
In the past, some people often mentioned the sense of hardship and worry. It seems not outdated now. Regardless of the achievements and the quality of the poetry first, the poet himself should have the sense of hardship and worry. Poetry is a key to liberate our depressed souls and also a teacher to liberate our thoughts. Take a look at this one
Leaves are the flourishing cells of the forest
Clouds are the scenery that the eagles can't accompany enough
Air is the silent dedication that doesn't want to leave a name
Rain and dew are the tears of compassion that can't be held back
Spring breeze is the wet nurse that gives birth to all things
Sunshine is the candid confession of the sky
Firstly, the poet should base on the thinking of human nature, and then it is the question of how to write. What I emphasize is still the things at the source of poetry that are not easily noticed in the depth of the soul. The poet wrote, "Spring breeze is the wet nurse that gives birth to all things." What a vivid and appropriate metaphor! This is the artistic appeal of the language of poetry. Among them, the tension of the language of poetry is very important. Especially for modern poetry, the language should also have a sense of music, a sense of picture, including transitions, that is, leaps. The language of poetry should have wings so that the poetry can fly.
Poetry also needs precipitation, and the language also needs fermentation. A good poet must skillfully use metaphors and metonymies, exert the limit of the language, and leave no traces of skills.
All these years I have been thinking about this question. Why write poetry? Especially in this materialistic era when the poetry circle is so lonely. We still have to be the guardians of this lonely literary world. Just because it embodies a kind of awakening and consciousness in our subconsciousness that condenses thousands of years of our culture and the redemption of certain social phenomena. It is also a manifestation of the literary spirit.
Poetry can complete this task with the most concise language and various expressions, allowing poets and readers to achieve spiritual resonance and mutual integration.
This is also the meaning of the existence of poetry.
When we write poetry, we must express the pain in the depth of our hearts, that is, present the truest thoughts in the depth of our hearts to readers and reach the language realm of the unity of heaven, earth and man.
Highlight
My appearance in the eyes of others
Selfless dedication
My emaciation
In my own mirror
Mutual understanding
My true pace
Under the protection of God
Be in a dilemma
The gap of human nature
Be as separated for three autumns
Languages of this realm can be easily found in Ma Yong's poetry collection. I believe that good poetry cannot be separated from the writing of humanity and the cognition of humanity. Through the nourishment of literary works, human society has a high-level cognition of things and nature, and pursues kindness and beauty. Short poems are short but not shallow in connotation. Especially sentences with artistic conception and charm often leave people with a longer aftertaste. Ma Yong's poems just suit my taste.
All the great poets at all times and in all countries have great love and kindness in their hearts. However, great poets are after all very few. We are just a group of small poetry lovers. In this society, we are still very weak. So weak that we have to struggle to survive. The heaviness of life can only make us retreat into poetry to seek consolation and adhere to the bottom line that the soul and poets should have.
I always believe that a good poet must "not write poetry just for the sake of writing poetry", otherwise, very good works will not appear. Poetry must be expressed with feelings. Only the感应 from the heart can possibly touch the spark of each other's hearts and gain recognition and respect from everyone. Here, Ma Yong has basically achieved this point.
Ma Yong's poems are concise, pure and simple. There are not too many showy techniques and foreshadowing. He just tells the story gently. He is like an elder with rich life experience, gently narrating his inner world, allowing everyone to see the life and tolerance in his writings. We have reasons to believe that the poet Ma Yong, through his own efforts and pursuit of poetry, will surely shine brightly in the poetry circle. We are looking forward to the early arrival of this day.
Author's Profile:
Jiang Qun is currently the president of the Liaoning Branch of the Chinese WeChat Poetry Society, and the executive editor of Liaoning Poets' WeChat Publication. He is the vice chairperson of the Writers' Association of Heping District, Shenyang City, and the president of the Camel Bell Poetry Society.
简单语言的深层张力
——论马勇诗集 《闪过的意象》
无尘
看完马勇的诗集《闪过的意象》之后，我突然想起卡尔维诺在《未来千年文学备忘录》中讲到庄子画蟹的故事。庄子跟国王邀约十年，却只在最后一天一笔画成，从螃蟹外在绝美形态中植入了内在神韵，其作用是训导国王对降低对贪恋、欲望的渴求度，推迟、叠加成就感和愉悦感。这样的中国传统内涵被西方现代文化所引用，本身就属于外在形态和内在神韵的“部分结合”或“相对统一”。随着文化虚像和现实虚实关联的演变程度，“内”“外”已逐渐演化成二元对立的结构主义中互相交织的部分。但是无论外在是什么样的表现形态，作品的内在禅机一定经过了精神的塑造和转化，才能在作品外在形式的勾画中表现更深刻的内在韵味。
《闪过的意象》这部诗集中，那些简单意象的诗，初看之下似乎平淡无奇，但细品之下，却能发现水面之下那深邃而丰富的世界。不探讨当今现代的诗歌之意象追求，就诗论诗而言，马勇的诗就像是一把钥匙，他笔下的意象，既有山川河流的自然之美，又有市井人烟的生活之趣。用简单的文字，捕捉了那些瞬间即逝的灵感，衔接着个体个性和大众共性之间的情感关系。像布迪厄提出的关键场域理论：个体的存在是强加在某个场域特定位置当中的。结合现代文化的发展，本体个体性质在整体共性的包容下会凸显自由和担当意识，个性在文化中所产生的张力地带既是个体的，又将会成为整体的；既是排斥的，又将会是自省和救赎的。以共性目标来左右个体自由精神的文化环境，一定会禁锢整体创造力；而驱使整体认可的共性发展创新，大部分是由极少部分“个性”所带动。所以，最终会被认可的“个性”和整体之间，存在时间或空间等畛域地带。
作为爱诗者，每天看到不尽其数的诗歌作品，说实话阅读起来多少出现点疲劳现象。而马勇的诗却能让我眼前一亮，我感觉他的每一首诗都像是一个小小的宇宙，仿佛置身于一个全新的世界，感受着诗人的情感和思考，对于生命的敬畏，对于自然的热爱，对于人性的洞察，都是从诗歌创作中的心理、情感、叙事等方面入手，深入理解其艺术魅力。马勇以连续性意象巧妙串联主题思想，并精心铺张开文本结构，这一手法不禁让人回想起古典诗歌中的精彩范例，如《诗经》中的篇章。然而，马勇的诗歌似乎和古人又没有任何关系，从文本上来看，他们的距离相差很远，但是从文本的水平线深挖进去，你会发现他的内涵，是在古典文学的继承中寻求创新的。中国诗歌历经千年发展，从《诗经》到《楚辞》，从汉乐府到唐诗宋词，每一时期都有其独特的风格和特点。然而，马勇的诗集《闪过的意象》却展现了一种新的气质。他的诗歌不仅继承了古典诗歌的精髓，更在主题反映上展现了现代人的情感与思考。每一首诗，无论是直白还是含蓄，都围绕着一个具体的主题映象展开，这种“具体反映”的手法使得诗歌更具深度和广度。
我想起尹国明教授在《性情说——关于中国文学的主体论》当中提到的例子，他说：《列子》以寓言的叙说方式体现出“从心而动”的思想性，同时又创作了一个“梦幻之境”的艺术结界，这种既体验个体性情又达到超验境界的文化作品，就是艺术与思想的结合统一。如果单从形式上而论，缺少艺术性的文化内容会显得结构薄弱，过于直叙，少了隐喻和象征带来的冲突及张力；反之，过于注重艺术性却缺少思想，会让文化作品丧失情绪、爱恨等精神内在，失去灵魂。正如罗丹在《艺术论》所讲：实际上，一切都是思想，都是象征。而马勇的诗歌旨态，就是这种“象征”。既延续了古人的传统，又有所突破。他的语言轻灵，大小意象转接融洽，情感与志趣的生成被表达得淋漓尽致。在《送河流一程》这首诗中，他以最通俗浅显的词句烘托出不同环境的情绪对比，通过第三人称的角度观察旷野，山间河流，展现了其高洁典雅、蕙质兰心、坚贞不渝的精神。而在《露珠》这首诗中，他则巧妙地运用借代植入的句式，将情感隐匿在文本之下，为读者勾勒出阅读后的第二次思维，营造出一种身临其境的感觉。
马勇的诗歌还善于用典，他巧妙地将典故融入抒情之中，以寻绎出感情的寄托。如“你点缀山坡的清纯倩影，驱赶着几只野性十足的山羊”，这让我倍感意外。因为“山羊”作为意象在现代诗中，往往承载着多重含义，它可能象征着自然、野性、温顺、牺牲或是与宗教、神秘主义相关联的象征。不同的诗人会在其作品中根据上下文和个人表达需要赋予“山羊”不同的含义。以美国诗人华莱士·史蒂文斯（Wallace Stevens）为例，他在《星期天早晨》（Sunday Morning）一诗中运用了多种自然意象，包括山羊。在这首诗中，山羊可能象征着一种平静、自然的生活方式，与诗中描绘的现代社会形成对比。史蒂文斯通过这种对比，探讨了现代社会中人与自然的关系，以及人们在追求现代生活方式时所失去的东西。再如，智利诗人巴勃罗·聂鲁达（Pablo Neruda）在《二十首情诗和一支绝望的歌》（Twenty Love Poems and a Song of Despair）中也可能运用了“山羊”的意象。虽然这首诗集并没有直接提及山羊，但聂鲁达善于运用自然元素来表达情感，因此他可能会用山羊来象征爱情的温柔、纯洁或坚韧。
回头再看马勇的《闪过的意象》，我发现他正以现代人的视角和感受，注入了中国古诗词更新鲜的蕴涵，接纳着西方文化的“象征”风格，让创作的主体更贴近生活，表达美好。从诗中我们不仅能获取到超出于寻常的思想规则，更能感受到马勇对诗歌艺术的热爱和追求。因此，对于马勇的诗集《闪过的意象》，我给予高度的评价，期待他未来能为我们带来更多精彩的作品。
作者简介
无尘，祖籍河北，天下云游，诗歌爱好者。
主人公马勇简介
马勇，回族，云南昭通人。毕业于云南农业大学，昭通市农业科学院高级农艺师。系中国诗歌学会会员、云南省作家协会会员、中国世促会工委特约研究员、中华诗书画派成员、乌蒙诗社社长。出版诗集《闪过的意象》《朝阳之梦》《灵魂的眼睛》《疼痛的心灵与泪花》，且为当代作家签名版图书馆珍藏和评论。在《诗歌月刊》《青年文学家》《参花》《读书文摘》《散文百家》《作家报》《鸭绿江》《青海湖》等期刊发表诗歌作品，全球多元化中文出版协会授予“桂冠诗人”；荣获“李清照杯”全国文学奖大赛诗歌类特等奖；2023大国人民诗人；百位文学工匠；华语辉煌成就十大顶级诗人。第17届作家报杯全国优秀文艺作品大赛金奖、全国诗歌教研成果一等奖、第四届中国诗人年度诗歌奖金奖等奖。中国诗歌网认证诗人（蓝V诗人）；《作家报》文学副刊专栏作家诗人；邮政明信片百位中国诗人；《青年文学家》杂志评为优秀作家。名篇文学艺术网总顾问，认证会员。部分诗作被云图书馆、北京大学、清华大学、浙江大学、复旦大学、中国邮册收藏。
The Deep Tension of Simple Language
— On Ma Yong's Poetry Collection "Flashing Images"
Wu Chen
After reading Ma Yong's poetry collection "Flashing Images", I suddenly recalled the story of Zhuangzi painting crabs mentioned by Calvino in "Six Memos for the Next Millennium". Zhuangzi made an appointment with the king for ten years but completed the painting in one stroke on the last day. He implanted the inner charm into the external exquisite form of the crab, aiming to teach the king to reduce his greed and desire, and to postpone and accumulate the sense of achievement and pleasure. Such traditional Chinese connotations being quoted by modern Western culture inherently belong to the "partial combination" or "relative unity" of the external form and the inner charm. With the evolution of the connection between cultural illusions and the reality, the "inside" and the "outside" have gradually evolved into interwoven parts in the structuralism of binary opposition. However, regardless of the external manifestation, the inner mystery of the work must have undergone spiritual shaping and transformation in order to express a deeper inner charm in the delineation of the external form of the work.
In the poetry collection "Flashing Images", the poems with those simple images seem rather plain at first glance. However, upon closer examination, one can discover the profound and rich world beneath the surface. Without delving into the pursuit of imagery in contemporary modern poetry, merely discussing the poems themselves, Ma Yong's poems are like a key. The images in his writings possess both the natural beauty of mountains, rivers and streams, and the charm of life in the marketplace and among the people. Using simple words, he captures those fleeting inspirations and connects the emotional relationship between individual personality and the commonality of the masses. Just like the key field theory proposed by Bourdieu: the existence of an individual is imposed in a specific position in a certain field. In light of the development of modern culture, the nature of the individual itself will highlight the sense of freedom and responsibility under the containment of the overall commonality. The tension zone generated by personality in culture is both individual and will become collective; it is both exclusive and will be self-reflective and redemptive. A cultural environment that uses common goals to control the individual's free spirit will undoubtedly imprison the overall creativity; while the common development and innovation that drives the overall recognition is mostly driven by a very small number of "personalities". Therefore, there are territorial zones such as time or space between the ultimately recognized "personalities" and the whole.
As a poetry lover, seeing countless poetry works every day, to be honest, I feel somewhat tired when reading. However, Ma Yong's poems can catch my eye. I feel that each of his poems is like a small universe. It seems that I am placed in a brand-new world, experiencing the poet's emotions and thoughts. His reverence for life, love for nature, and insight into human nature all start from the aspects of psychology, emotion, and narration in poetry creation to deeply understand its artistic charm. Ma Yong skillfully connects the thematic ideas with continuous images and elaborately unfolds the text structure. This technique can't help but remind people of the wonderful examples in classical poetry, such as the chapters in "The Book of Songs". However, Ma Yong's poetry seems to have nothing to do with the ancients. Judging from the text, they are far apart. But digging deep from the horizontal line of the text, you will discover that his connotation lies in seeking innovation in the inheritance of classical literature. Chinese poetry has developed for thousands of years, from "The Book of Songs" to "The Songs of Chu", from Han Music Bureau to Tang poetry and Song ci, each period has its unique style and characteristics. However, Ma Yong's poetry collection "The Flashing Images" presents a new temperament. His poems not only inherit the essence of classical poetry but also demonstrate the emotions and thoughts of modern people in theme reflection. Each poem, whether straightforward or implicit, unfolds around a specific thematic image. This "specific reflection" technique makes the poetry more profound and extensive.
I remember the example mentioned by Professor Yin Guoming in "On Temperament - On the Subject Theory of Chinese Literature". He said: "Liezi" embodies the ideological nature of "acting from the heart" in the narrative way of fables, and at the same time creates an artistic barrier of a "dreamland". Such a cultural work that both experiences individual temperament and reaches a transcendent realm is the combination and unity of art and thought. If judged only in terms of form, cultural content lacking artistry will appear structurally weak, too straightforward, lacking the conflict and tension brought by metaphor and symbol; conversely, paying too much attention to artistry but lacking thought will make cultural works lose the spiritual essence such as emotions, love and hate, and lose their soul. Just as Rodin said in "On Art": In fact, everything is thought and symbol. And Ma Yong's poetic purport is precisely this kind of "symbol". It not only continues the tradition of the ancients but also makes breakthroughs. His language is light and agile, the transitions between large and small images are harmonious, and the generation of emotions and aspirations is expressed vividly. In the poem "Accompanying the River for a Stretch", he sets off the emotional contrast of different environments with the most popular and simple words, and observes the wilderness and mountain rivers from the perspective of the third person, showing his noble, elegant, gentle and firm spirit. In the poem "Dewdrops", he skillfully uses the sentence pattern of metonymy implantation to hide emotions under the text, outlining the second thought after reading for readers and creating an immersive feeling.
Ma Yong's poems are also good at using allusions. He skillfully integrates allusions into lyricism to explore the sustenance of emotions. For example, "Your pure and charming figure embellishing the hillside drives a few wild goats", which surprises me greatly. Because as an image in modern poetry, "goat" often carries multiple meanings. It may symbolize nature, wildness, docility, sacrifice or be associated with religion and mysticism. Different poets will endow "goat" with different meanings in their works according to the context and personal expression needs. Take the American poet Wallace Stevens for instance. He used a variety of natural images, including goats, in the poem "Sunday Morning". In this poem, the goat may symbolize a peaceful and natural lifestyle, contrasting with the modern society depicted in the poem. Through this contrast, Stevens explores the relationship between man and nature in modern society and what people have lost in the pursuit of modern lifestyles. Again, the Chilean poet Pablo Neruda may also have used the image of "goat" in "Twenty Love Poems and a Song of Despair". Although this collection of poems does not directly mention goats, Neruda is good at using natural elements to express emotions, so he may use goats to symbolize the tenderness, purity or tenacity of love.
Looking back at Ma Yong's "Flashing Images", I find that he is injecting fresher connotations of ancient Chinese poetry with the perspective and feelings of modern people, accepting the "symbolic" style of Western culture, making the creative subject closer to life and expressing beauty. From the poems, we can not only obtain extraordinary ideological rules, but also feel Ma Yong's love and pursuit of the art of poetry. Therefore, for Ma Yong's poetry collection "Flashing Images", I give a high evaluation and look forward to him bringing us more wonderful works in the future.
Author Profile
Wu Chen, whose ancestral home is Hebei Province, travels all over the world and is a poetry lover.
Profile of the Protagonist Ma Yong
Ma Yong, of the Hui ethnicity, is from Zhaotong, Yunnan Province. He graduated from Yunnan Agricultural University and is a senior agronomist at the Zhaotong Academy of Agricultural Sciences. He is a member of the Chinese Poetry Society, a member of the Yunnan Writers' Association, a special researcher of the Working Committee of the China Council for the Promotion of World Trade, a member of the Chinese School of Poetry, Calligraphy and Painting, and the president of the Wumeng Poetry Society. He has published poetry collections such as "Flashing Images", "The Dream of the Rising Sun", "The Eyes of the Soul", "The Painful Heart and Tears", which are collected and commented on by the contemporary writers' signed editions library. His poetry works have been published in periodicals such as "Poetry Monthly", "Young Literati", "Shen Hua", "Reading Digest", "Hundred Schools of Prose", "Writer's Newspaper", "Yalu River", "Qinghai Lake", etc. The Global Diversified Chinese Publishing Association awarded him the title of "Poet Laureate"; he won the Special Grand Prize in the poetry category of the "Li Qingzhao Cup" National Literature Award Competition; he was named "Great Country People's Poet" in 2023; one of the Hundred Literary Craftsmen; one of the Ten Top Poets of Chinese Brilliant Achievements. He has won the Gold Prize of the 17th Writer's Newspaper Cup National Excellent Literary and Artistic Works Competition, the First Prize of the National Poetry Teaching and Research Achievements, the Gold Prize of the Fourth Chinese Poets' Annual Poetry Prize, etc. He is a certified poet (Blue V poet) on the Chinese Poetry website; a columnist poet of the literary supplement of "Writer's Newspaper"; one of the Hundred Chinese Poets on postal postcards; and was rated as an excellent writer by the magazine "Young Literati". He is the chief advisor and certified member of the Famous Literary and Artistic Works Network. Some of his poems have been collected by cloud libraries, Peking University, Tsinghua University, Zhejiang University, Fudan University, and Chinese postal albums.
明眸善睐
——马勇诗集《灵魂的眼睛》读后记
作者/齐凤艳
“诸神最先造的器官是眼睛，它给我们带来光”，柏拉图的《蒂迈欧篇》如是写道。这句号的含义固然有历史局限性，因为光不是眼睛带来的，但是柏拉图将眼睛与太阳关联、太阳与善相关联，从而得出人的灵魂之眼可以看到善，看到真理却是充满诗意和宗教神性的。同时，柏拉图区分了视觉的创造和其他感官的创造，对感官进行了等级划分，视觉在各感官中排在首位。他的学生亚里士多德在《形而上学》的开篇就写道：“求知是所有人的本性。对感觉的喜爱就是证明。人们甚至离开实用而喜爱感觉本身，喜爱视觉尤胜于其他。不仅是在实际活动中，就在并不打算做什么的时候，正如人们所说，和其他相比，我们也更愿意观看。这是由于，在一切感觉中它最能使我们识知事物，并揭示各种各样的区别……”以上文字让我对眼睛的重要性有了新的认识，也让我对诗人马勇以《灵魂的眼睛》命名他的诗集的之幽深含义得到更多的醒悟——这部诗集是马勇赏玩自然、观察世界、感悟生活、追索人生、探寻真理和涵养精神的成果和历程，或者说对于这些历程的记录、抒怀和反思形成了他这部诗集中的诗作。所以，这部诗集主题广博丰富，情感隐显有致，哲思有的放矢，语言简洁精巧，读来舒爽轻逸而不失回味。
“眼处心声句自神”。元好问论诗绝句三十首之十一的第一句话就告诉我们有感而发对于诗歌达到理想的艺术效果的重要性，而眼睛是最重要的感觉器官。当我们将心灵和眼睛联系在一起，外观与内视结合起来，诗歌创作就找到了必由之路。一方面，诗歌创作的源泉是客观现实，真情慧思必然来自诗人的切实生活感受；另一方面，内视之归返和向内转，才能实现情思与艺术语言的通达——实际上是，内在的活力创造了诗。于是我读到马勇这样的诗句：“当一个人受某种丰盈的内在活力的逼迫/即如掉进了一口无价的深/井/也像热恋中的高潮/部/分/无力删减”，所以他的诗作，都是“触目惊心”之作。并且，他对诗歌的诗行用心设计，体现了他对诗歌外观之审美效果的重视。
上引诗句显示了马勇充盈的情感，而诗正是强烈情感的自然流露，所以当马勇拥有了饱满的创作激情，人间万象、理性哲思、花草树木、山川禽鸟，都在他的笔下呈现出万般情态，并且他将自己的一颗诗心灌注其中。
186
死亡，生命（有机体）
的穷途……
不辞永别
人类所有价值
深
度
盛不下半粒光
阴
哲学，顿然
白发——
三
千
丈
诗集《灵魂的眼睛》中，不乏186这样的观照生死、叩问人生、发古今冥思之作，诗人是细腻敏感而又喜好穷愁旷远之哲学发问的。白发三千丈之语，道出了痴心一片和苦心孤诣，这若不是因为灵魂的超拔与不懈追求，还能是什么呢？诗歌写作还有比这更强大的驱动力吗？马勇在 142中所张扬的审美趣味也是他在语言与灵秀事物中涵养性情的不竭源泉。诗人写道：“细竹悠悠/竞相效尤//瘦——
//剩点：光感，空灵/唯‘美’的/气血……/前赴后继”。并且，从马勇的诗作中，我看到，他对诗歌如何美和怎样美也是颇有领悟的，比如，除了上面所说的他的诗作中的诗行构架之特色外，他的诗也包含着节奏美和韵律美。
当然，精神追求、审美愉悦与哲思冥想绝不是马勇诗歌主题的全部，《灵魂的眼睛》中更多的诗作是有关现实人生的。
79
大街，小巷
大肠，小肠
大呼啦圈，小呼啦圈
流转，连滑
众生、物淳、残缺
胆怯、废弃、虚妄
呲牙……不时
向外——捣腾
辐
射
城市幢影
公元 xxxx
世纪之晕眩
马勇的诗歌写作手法趋于多样化。这首颇具写实特色的诗作很有现场感。诗人以纷繁馥郁的物象罗列生动地描摹了现实的丰富性、生活的驳杂、人的应接不暇。诗人创造了一种近似戏谑的口吻将生活的压迫感表现出来，亦庄亦谐，令人五味杂陈。马勇亦书写了生活中的疾病、困厄、荒谬与无奈。当然更多的时候，诗人是明朗、乐观的。比如174这首诗，以隐喻地手法诗意地表达了诗人对美好与正义的信念：“乌云筑梦/兴风作/浪//天庭巡警/捉拿归/案”。再比如，在54这首诗中，马勇写道：“农忙喧嚷/汗水苦涩/是丰收前奏的铺/垫//低音、节律、变音/和弦、高音、色泽/秋天上/演”。诗人表面上写春播夏种之辛苦和秋收之欣悦，实际上是在讲述那古老的苦尽甘来的道理。“演”字独立一行突出了发展变化是永恒的，也暗含着人生就是一个舞台，每个人都是主角，角色演得如何，在很大程度上要依靠自己。
读马勇诗集《灵魂的眼睛》中观山水花鸟而作的感物而兴之诗作，我想到孔子教诲弟子“多识于鸟兽草木之名”，不是从获得事物的知识的角度讲的，而应该是与《诗》崇尚比兴关系密切，是说要从对自然事物的感知中，寄寓情思，获得解悟和启发。因此孔子的“多识于鸟兽草木之名”反映的是从《诗经》发端的“引譬连类”之诗学传统。对这一传统，马勇继承良多，这里就不多举例赏析了。而其中的带有格物风致的小诗则像微盏中的绿茶，清新，淡雅，浅浅的一泯，某个下午的一个瞬间就那样闪亮了一下：不容你贪多，会意即止——也是一种雅致。比如：“犁铧/打开大地的厚袄(地表)/别上/种子的/纽/扣”。
总之，诗集《灵魂的眼睛》中的诗作是马勇的明眸善睐，它们多姿多彩又有属于马勇自己的特色。清秀易懂的语言让诗作清新可人，也使得诗作的内涵更易于被读者领悟，从而使得诗中要义直抵人心。眼睛是心灵的窗口，马勇巧思隽语构建的诗意，能将读着的眼睛浸染得更加明朗，从而更澄明地看见自己的灵魂。这也是所有诗作的意义和价值之所在吧。
作者简介
马勇，回族，云南昭通人。毕业于云南农业大学，昭通市农业科学院高级农艺师。系中国诗歌学会会员、云南省作家协会会员、中国世促会工委特约研究员、中华诗书画派成员、乌蒙诗社社长。出版诗集《闪过的意象》《朝阳之梦》《灵魂的眼睛》《疼痛的心灵与泪花》，且为当代作家签名版图书馆珍藏和评论。在《诗歌月刊》《青年文学家》《参花》《读书文摘》《散文百家》《作家报》《鸭绿江》《青海湖》等期刊发表诗歌作品，全球多元化中文出版协会授予“桂冠诗人”；荣获“李清照杯”全国文学奖大赛诗歌类特等奖；2023大国人民诗人；百位文学工匠；华语辉煌成就十大顶级诗人。第17届作家报杯全国优秀文艺作品大赛金奖、全国诗歌教研成果一等奖、第四届中国诗人年度诗歌奖金奖等奖。中国诗歌网认证诗人（蓝V诗人）；《作家报》文学副刊专栏作家诗人；邮政明信片百位中国诗人；《青年文学家》杂志评为优秀作家。名篇文学艺术网总顾问，认证会员。部分诗作被云图书馆、北京大学、清华大学、浙江大学、复旦大学、中国邮册收藏。
出品人:阳光
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