中国矿业大学徐海学院毕业论文
大的研究空间，需要我们去挖掘和阐释。他的诗作的艺术魅力仅此文章是不足以说明的，本文只是取其诗作艺术的意象这个方面来探究，还有很多值得挖掘的价值。
因为短暂，所以灿烂。也或许是，因为灿烂，所以短暂。在顾城不长的生命里，为诗坛作出了很大贡献。斯人已去，一切犹如过眼云烟，在他编织的诗歌意境里，有过沉醉，也有过挣扎，而最后却走向毁灭。他死于梦的破灭，死于对现实的绝望，死于江郎才尽，死于他那忧郁的性格，死于天才的孤独。也许他真的觅到了自己最终的梦，但他永远无法走出自己的梦，因为他被现实所丢弃了。
参考文献：
[1]郑敏：《中国诗歌的古代与现代》，《诗歌与哲学是近邻—结构—解构诗论》.北京大学出版社1999年版.315.
[2]张同道.探险的风旗：论20世纪中国现代主义诗潮[M].合肥：安徽教育出版社，1998,540.
[3]顾城．顾城诗全篇 [M],上海：三联书店，1995. 69.
[4]顾城.学诗笔记 [A] .顾城弃城 [M] .北京: 团结出版社,1994. [5]姚家华：《朦胧诗争论集》，学院出版社1985年版. [6]顾工.寻找自己的梦[J].人物.1993,(3).
[7]顾城.诗话录[A].顾城的诗[C].北京：人民文学出版社,1998.401. [8]江小敏.《顾城:生如蚁美如神》[M].北京.中国长安出版社,2005.145. [9]顾城：《大游戏小人间》；赵毅衡，虹影：《墓床》北京：作家出版社，1994. [10]刘勰.《文心雕龙.性》、《文心雕龙.物色》、《中国历代文论选》第一册。上海古籍出版社。1979年版，第243、241页
[11]王家新.王家新的诗[M].北京:人民文学出版社,2001.76. [12]朱光潜.诗论[M].广西: 广西师范大学出版社,2004. 34.
[13]顾城.从自我到自然 [A] .顾城弃城 [M] . 北京: 团结出版社,1994，408. [14]顾城．顾城诗全篇 [M],上海：三联书店，1995. [15]张捷鸿.童话的天真 [J] 当代作家评论,1999, (1 )
[16]顾城.学诗笔记 [A] .顾城弃城 [M] .北京: 团结出版社,1994 [17]顾城.从自我到自然 [A] .顾城弃城 [M] . 北京: 团结出版社,1994 [18]戈雪.一个纯真脆弱的童话世界[J] .江汉大学学报,2000
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中国矿业大学徐海学院毕业论文
[19]唐晓渡.顾城之死 [J] 当代作家评论,2005, (6 )
[20]杨守森. 二十世纪中国作家心态史 [M] . 北京:中央编译出版社,1998 [21]重庆炳. 作家的童年经验及其对创作的影响 [J] .文学评论,1993, (4 ) [22]韩传喜.总迷恋到迷失 [J] 盐城工业学学报,2003, (3 )
[23]姚国军,赖秀莲.从徐志摩和顾城的爱情诗透视其性格与命运[J],2007,(4) [24]张捷鸿.童话的迷惑 [J] 山东师大学报,1997,(4)
[25]梁光焰.生命不能承受如此至美 [J] 淮南师范学院院报,2005,(6) [26]张士春,史冰如.诗泉士怎样干涸的 [J] 常州工业技米学院学报,1997,(3) [27]刘扬.出世与入世：对顾城诗歌的现代性阐释.中国现当代文学研究 [28]顾城，《顾城的诗》，人民文学出版社，1998年版.
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中国矿业大学徐海学院毕业论文
翻译:
英文原文
A DECONSTRUCTIVE READING OF
CHINESE NATURAL PHILOSOPHY IN POETRY
Chapter 3. Distorted Flower: the Poetry of Gu Cheng
Among contemporary Chinese poets, Gu Cheng is probably the best one who has grasped and recreated the marrow of Chinese natural philosophy and classical Chinese poetry by his persistent creation, through the pain of estrangement in a modem society, of a transparent world oneness. On the inheritance o tradition, Gu Cheng once said,
Only by passing through the image can we reach the essence. Only by forgetting the form can we attain to the soul... Those people who believe in ancient meters and rhymes think the T'ang poetry depends on the partum of dui zhang. This false conception engendered a large group of minor poets in the Ming and Qing Dynasty, and has its influence even today. They do not know \movement of the great soul creates the best form...I think innovation is the best inheritance of tradition. Innovation is the essence of tradition. It is the best proof of the living power of tradition. Tradition grows in us, struggling, distorted, and sprouts into layer and layers o f flowers.\
The split and veiled voice in Gu Cheng's later poems, especially in his anthology Eulogy World. and his willful living of his poetics, resulting in violent homicide and suicide, might be considered ~ such a distorted flower growing out of tradition.
A Eulogy World evokes, from the first poem on, the noumenal world of transparent oneness in classical Chinese painting and poetry:
It is the Tree's Capacity to Swim
it is the tree's capacity to swim
that helps to keep the bird on the sailing course and recall the sound of the tides the bird speaks in mid-air it says: \
its tells: \tree’s crown\
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中国矿业大学徐海学院毕业论文
fragrance coats our whole bodies long and cool arms traverse the inner heart we swim in the wind
taking shape in the silence we cannot see the earliest days at the earliest, there was only love1
In this poem, a liquefied world is crystallized by the technique of inversion and permeation, where sky and water pour into each other and merge into a reversed, transparent whole: trees \filled with fluttering leaves reminiscent of tidal voice, birds speaking in a human language while human loves spell-bound in silence.
How often have we encountered such world of transparent oneness between sky and earth in classical Chinese painting and poetry! We see it in the T'ang poet, Wang Bo's verse: \same color.” a We read it in Tang Wang-ru's poem: \of the west wind ages Tung-t'ing's waves./ Hsiang-cbon's hair, in one night, whitened./ Drunk, and it seems, the sky is in the water./Skiff of pure dreams, weighs on the river of star.\We meet it in Emperor Hui Zong's painting of crowding birds above the roof: in the watery limbo of sky light and damp ground, which becomes mirror of each other, these birds in their hovering, strangely inverse shapes create an optical illusion as if suspended in their flight. (See fig. 3) And a thousand other ancient Chinese paintings, whore mist-cooled mountains stretch translucent, as if charged by an inner illumination, fading into the surrounding air. The transparent world of inversion and permeation hints at our empirical world transformed by a perception from the other side of life--by an enlightened omniscience.
The Eulogy World is the original one in Chinese natural philosophy, which, in Gu Cheng's alchemy of private symbolism, is merged with the Platonic world of idea, the distant world recovered only through recollection. The graft of the Western dualism on Eastern monism is made possible by the intrinsic ambivalence between physicality and metaphysics, image and emblem in Chinese natural, al philosophy, The light of the world of
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中国矿业大学徐海学院毕业论文
origin and idea emanates into all things: solid, material forms, in the enlightened eyes, are dissolved and restored to their transparent spirituality. At the origin, everything permeates into each other. Gu Cheng's poems in their clipped sentences, exploit the syntactic ambiguity of classical Chinese poetry, whose condensation and ellipsis often renders subjects unrecognizable. Verb of action, having lost a definite subject, like the center of a vortex swirls everything into a concentric movement. In Gu Cheng's poems, the things closest to the center are animate Nature, while man's presence is the peripheral note in the cosmic chorus. The fragrance might be that of trees as well as that of a human body. The long cool arm might be that of a human being, or a leafy branch or a sea wave. The arm traversing the inner heart might also be the wind, which transverses the heart of the universe. The lost, earliest love might be sensuous human love, as well as the original, divine harmony.
The staccato, telegraphic language of the bird is to become an important feature of Gu Cheng's last poems. The loss of syntactic contiguity suggests Gu Cheng's cut-office in his effort to touch an original world untarnished by human communication. \the tree's crown\transfixed in the Buddhist eternal present. However, this eternal present is paradoxically superimposed on a long vista of recollection suggesting an irrevocable loss. The sense of recollection is hinted not only in the birds\ending, \cannot see the ear]Jest days. At the earliest days, there is only love.\The Eulogy world is at once realized at this moment and long lost.
To explain this paradox, we come to the most crucial and subtle aspect of this group poems. For all his seeming simplicity and transparency, Gu Chang's poetic voice is split. Layered, and veiled. As in the Buddhist view of man immediate after death, who resides for a short while in a limbo world between this world and the other, the phenomenal and the nominal, Gu Cheng's voice in these poems is often at once that of the living and a posthumous voice, at once imprisoned in material end flow/rig disembodied at large. It is the voice of a man speaking from the other bank of fife, toward the self still trapped on this side. Because he is already in touch with the noumenal, he resides in the Buddhist eternal now, a perpetual moment of consummation; because he is still within this world, he
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