诗歌变异语言及其实质_英文_

诗歌变异语言及其实质马永红(西南交通大学外国语学院,四川成都610031)摘要:本文主要分析诗歌作品中实际存在的变异语言的种类、实质及其划分的标准。

通过分析,我们可以看到,诗歌变异语言尽管怪诞不经,甚至晦涩难懂,但都是对世界的新理解和原初命名。

它有如一道闪电,在刹那间照亮世界。

在语言局限无不存在的现实面前,表达变异是反映无穷新知的必需的客观存在。

变异语言常有的怪诞,并非诗人的乖戾,而恰恰是其深刻智慧的闪光。

关键词:变异语言;形式变异;逻辑变异;标准;实质中图分类号:I052 文献标识码:A 文章编号:1004)3926(2003)03)0310)06收稿日期:2002-03-05作者简介:马永红(1966-),女,四川郫县人,西南交通大学外国语学院讲师。

IntroductionT his essay aims mainly to analyze the kinds,essence and norms of the deviations that actually ex ist in poetry 1As generally believed,a poet is entitled to v iolate the rules and conventions of language and transcend the limits of lang uage to ex plore new areas of ex perience thoug h there are limits both in the de -g ree and types of freedom 1T he main characteristics of poetic language are freedom and innovation,w hich are normally represented in poetic deviation 1It is in -tended to deviate or violate language norms for the sake of peculiar style of poetry 111Kinds of deviationAccording to the partition made by Leech,there are in the m ain eight kinds of deviation:lexical devia -tion,grammatical deviation,phonological deviation,g raphological deviation,semantic deviation,dialectal deviation,dev iation of reg ister and deviation of his -torical period 1For the convenience of investig ation,poetic de -viations can be divided into two kinds:formal devia -tion and log ical (semantic)deviation 1Take,for ex -ample,E 1E 1Cumm ings ./strange poems 0to illus -trate the main deviations of the two kinds 1111Formal dev iationFormal deviation refers to the violations of the form of language and is thus superficial and /on the surface 10It mainly includes the follow ing:1)Lexical dev iationLexical deviation is normally related to neolo -gism ,the invention of new words 1It is a w ay that a poet employs to exceed the com mon resources of the lang uage 1According to Leech,it is not a violation of lex ical rule,but an application of an ex isting rule of word-formation in a greater generality than custom -ary,that is,the usual restrictions on its operation are w aived in a g iven instance 1[1](1)Nonce w ordsNonce w ords refer to the w ords that do not exist but are coined to convey specific meaning 1T he new words are called nonce-formations in that they are made up /for the nonce 0,i 1e 1,for single occasion only,rather than as serious attempts to augment the English w ord stock for some new need 1[2]In the fo-llow ing poem Buffalo Bill p s,the word /watersmooth -silver 0is a typical ex ample of coinage or nonce -formation 1E 1E 1Cumm ings (1894-1962)is inven -tive and fond of m aking ex periment w ith language for总24卷 第3期2003年3月西南民族学院学报#哲学社会科学版Journal of Southw est U niversity for Nationalities.Philosophy and Social Scienc esVol 124No 13M ar 12003the sake of art1T he word/watersmooth-silver0is coined to show that the horse rides fast and steady1Buffalo Bill p sBuffalo Bill p sdefunctw ho used toride a w atersmooth-silverstallion and break onetw othreefourfive pigeons justlikethatJesus he w as a handsome manand w hat i w ant to know is how do you like your blueeyed boyM ister Death(2)Telescoped wordsWords are sometimes driven together to make a new word so as to enrich the expressiveness of lan-guage and give a new meaning to the ex isting w ords1 In the above poem,the five numbers/one0,/two0, /three0,/four0,and/five0are combined into one w ord to describe Buffalo Bill p s quick and successive action w hen shooting the pigeons1So it is the same w ith the four w ords/pigeons0,/just0,/like0,and /that0that are driven together1(3)Broken w ordsPoets som etimes break up w ords in their poems so as to achieve visual effects1In the follow ing poem, E1E1Cumm ings greatly em ploys broken w ords1l(aleaffalls)onelinessAt first sig ht,the poem seems not a poem but a g ame of w ords of the poet1Nevertheless,if w e con-nect these broken letters,w e may get the follow ing words:a leaf falls(and)loneliness1The poet puts/a leaf falls0into bracket and inserts it into/loneliness0, thus the concrete image of/a leaf falls0is infused into the abstract im age of/loneliness0.It im presses the reader w ith that the sight of/a leaf falls0is associat-ed w ith/loneliness0and the/loneliness0,like a leaf, is homeless and drifts as the w ind takes it1The w ord/loneliness0is broken up into four lines:l/one/l/iness,/leaf0two lines and/falls0 three lines1The letter/l0appears five times in the verse as if a leaf vertically falls and it resembles the Arabic number/10.Cummings uses such concrete image to emphasize the abstract concept of/lonel-i ness0.In addition,there are three/a0and one /one0,which represent/one0and protrude again the /loneliness0.In the verse,/af0and/fa0are w ritten in the opposite w ay,which impresses the reader w ith a moving picture of the turning of the leaf w hen it falls1T he end/iness0gives us a static sensation w hen a leaf falls upon the ground1The verse is a unity of moving and static sensation1In addition to the three kinds mentioned above, lex ical dev iation also comprises many other kinds, such as the reduction of capital letters into small ones,or vice versa1For instance,in order to show his ant-i traditional thoug hts,E1E1Cummings tends to reduce capital letters of his name into/e1e1cum-mings0.Another example is the first person pronoun /I0w hich is alw ays written as/i0to indicate that /I0,as an ordinary man,has nothing special in com-parison with others1Under circumstances that he does use capital letters,that is just for emphasis only1 In the poem Buffalo Bill p s,Buffalo Bill is a nickname for a western sharpshooter w ho is admired by the people for his adventurous spirit,but w ho cannot es-cape the hand of the Plutle1Buffalo Bill actually stands for the early American people w ho were brave, adventurous,etc1In order to emphasize and hig h-light the symbol,the poet capitalizes the name/Buf-falo Bill0.In addition,/Jesus0and/M ister Death0 are also capitalized w ith the intention of show ing that第3期马永红诗歌变异语言及其实质311both/Jesus0standing for God and/M ister Death0 standing for Plutle have the power to decide the life and death of the human being12)Gramm atical deviationGramm atical deviation refers to the violation of sy ntax,the gram mar of how words pattern w ithin sentences1Violations of surface structure are superf-i cial not only in the technical sense,but also in the sense that they have no fundamental effect on the way in w hich a sentence is understood1[3]E1E1Cummings also uses grammatical devia-tion in his poems to highlight meanings1In the sen-tence/and what i w ant to know is how do you like your blueeyed boy0,the predicative clause should be /how you like your blueeyed boy0.This change is meant to enhance the mood of the sentence and chide M ister Death for his taking aw ay of Buffalo Bill1Also in the sentence/you pays your money and you doesn p t take your choice0in his poem,Cumm ings is ironically suggesting that it is a reversion of rig ht and w rong to buy nothing content when you have spent money1[4]3)Phonological deviationPhonological deviation refers to the irregularities of pronunciation that are conventional licenses of verse composition,such as elision(i1e1o p er=over, p gainst=against),aphesis(i1e1lone=alone,the unstressed vow el/a0is missing),apocope(i1e1tho =thoug h,the final sound is missing),etc1and spe-cial pronunciation for the convenience of rhyming,as w hen the noun w ind is pronounced like the verb w ind1It appears also that certain poets place w ord stresses in unusual places as bal ster used by Ten-nyson1Patterns of phonology are even more/on the surface0than those of surface syntactic structure,so phonological deviation in English poetry is of limited importance1[5]4)Graphological deviationPoets may sometimes conform the rule of Cubism to destroy and disintegrate the images of all things and then compose them subjectively1They try to ex-plore the possibilities of visual patterning in poetry1In many poems a line is broken by the cadence of the phrases to heig hten and distribute the emphasis and reduce the dependence on end-rhyme to the advan-tage of the melody of the verse as w hole1T his tends to make visual poems possible1Take,for example, E1E1Cummings p poem r-p-o-p-h-e-s-s-a-g-rr-p-o-p-h-e-s-s-a-g-rr-p-o-p-h-e-s-s-a-g-rw hoa)s w(e loo)kupnow gathPPEGORH RASSering int(o-aT he):leA!p:Sa(rrIvInG-gRrEaPsPhOs)to rea(be)rran(com)gi(e)ng ly,grasshopper;Cummings p poems usually strike us w ith the odd typography or graphology as a result of the influence of Picasso p s Cubism1T hey are,in fact,poempictures of his ow n sty le1Cum mings attaches importance to visual images and favors to pursue a strang e ty pogra-phy1H is poems are w orthy of the title/visual poet-ry0w hich adopts the visual imag es to help ex press the meaning betw een lines by means of an original ap-proach1T he poem r-p-o-p-h-e-s-s-a-g -r reveals w hat w e call the typical graphological de-viation1The meaning of the verse is/As we look up now,r-p-o-p-h-e-s-s-a-g-r w ho, gathering into a/the leaps and arriving,become rear-rang ingly grasshopper10Cummings uses so many deviations to depict the /grasshopper0.The letters of/g rasshopper0have312西南民族学院学报#哲学社会科学版第24卷been ranged three times and each time the spelling of it becomes more correct1For the first time,the sepa-rate spelling r-p-o-p-h-e-s-s-a-g-r w ith hyphens indicates that/grasshopper0extends its body in the far aw ay place and thus makes us hard to distinct1The second spelling PPEGORHRASS ind-i cates that/grasshopper0ex tracts its body and w e can see it p s like a w orm1The third spelling g RrEaPsPhOs g ives us impression that if we only spell the small let-ter(ex cept/h0)from left to right,we get/grass0, and the capital letters(w ith/h0in front)in the op-posite way,w e get/hOPPER0.The/grasshopper0 jumps tow ards us nearer and nearer1And finally w hen w e finish reading,we come to a conclusion w ith a start that the jumping and indiscernible thing exposes its original form)))it p s a grasshopper!In addition,the rang ing of the tw o w ords /leaps0and/arriv ing0indicates that the/grasshop-per0is jumping up and down,from left to right,and right to left1T he first colon in the verse indicates that the /g rasshopper0tends to make a big leap and needs to pause before gathering new energy for jumping1The exclamation mark indicates that the/g rasshopper0 has jumped to a surprising height1And the second colon shows the/grasshopper0has jumped so high that it needs to have a break and take a deep breath1 T he appearance and disappearance of the /grasshopper0and the jum ping of it,all constitute a mov ing picture of the poem1112Logical dev iationLogical dev iation refers to the log ic irrationality in that it violates logical content1It is equivalent to semantic deviation of Leech1It is mainly concerned w ith the illogicality that the tw o closely related w ords reflect1It reveals that what the tw o concepts indicate does not exist in reality,thus log ically irrational1 Yeats said that an irrational element w as present in all great poetry1[6]So to some ex tent,a poem can be regarded as a kind of inspired nonsense1It is rea-sonable to understand/logical deviation0as/non-sense0or/absurdity0,as compared w ith/sense0, log ic or rationality1The facial absurdity of it forces readers to research into the deep log ic through its lit-eral meaning1Logical deviation is commonly seen in figurative lang uage,especially in metaphors and symbols1 Wordsw orth p s/The child is father of the man0is far from nonsensical by the generous standards of poetic appreciation:indeed,/its very face-value oddity lends it abnormal power of significance10[7]The intended meaning of it is that one p s childhood show s what one w ill be like w hen one becomes a man1In the poem r -p-o-p-h-e-s-s-a-g-r,Cummings employs personification to describe the figure of /grasshopper0.He adopts the conjunction/who0 that is used normally to indicate a person to refer to the/grasshopper0,a kind of insect1T his indicates that the/grasshopper0is as active and vivacious as man1Logically deviant poetic languag e largely exists in surrealist poetry w hose metaphors and symbols are more far-fetched in the way that they are more absurd and irrational1Surrealist poetry is created/automat-i cally0and more associated with the poet p s unconscious mind1It seeks to transcend logic and habitual think-ing to reveal deeper levels of meaning and unconscious associations1Surrealist poetry mobilized by love)))mad,re-lentless,uncompromising and its eternal theme)))is unfettered im agination opening the way to the unfet-tered life1It makes possible the unheard-of images melt into the consciousness,thereby abolishing the slavery of the mind to resolve the contradiction be-tw een everyday life and the/marvelous01It enrich-es ordinary language by challeng ing all forms of ac-cepted usage,that is,by provoking new and daring relations betw een w ords,and setting them loose in the free play of desire1T ake,for ex ample,Larry Romano p s It M ust Be M idnight:It must be m idnightThe doors configurate the planets第3期马永红诗歌变异语言及其实质313U ltra-uterine ufo p sg ripped in the tools of madnessw hen I p m cognizant enough of the x-factor of imm anencethe overtime vision of Gulliverthe rictus of forbidden flowersT his is a surrealist poem w hich characterizes both grapholog ical and semantic dev iation1There is no punctuation w hatsoever,w hich makes more diff-i cult to comprehend the poem1Log ically,the/doors0 can not/configurate0the/planets0,and/madness0 be used to describe the/tools0.Moreover,the im-ages in the poem also present an illogical order,w hich demonstrates that they are constructed synchronously in accordance w ith the poet p s/real process of thought0,a trait of/pure psy chic autom atism0of surrealist poems1T he surface structure of the poem is the depic-tion of planets or ufo,but the deep structure of it suggests a sex ual intercourse taken in the midnig ht1 T he w ords that symbolize v agina are door,uterine (womb),tool,rictus,flow er,w hile those that sy m-bolize phallus or penis are planet,ufo,x-factor,Gu-l liver121Norms of deviationDeviation concerns departure from ex pectation and thus it needs to constitute a theory of literature as deviation from a norm1Definition of deviation de-pends on the definition of norm1Norm is considered or accepted as standard and used to distinguish poetic deviation1211Lang uage as the norm for both formal and logical dev iationsNorm and deviation exist throug h com parison w ith the lang uage as a w hole1Language is a system organized in an org anic structure by rules1Language prov ides all the rules for its use and thus is the norm or standard of poetic deviation1Poetic lang uage takes the language as its background and intentionally vio-lates it for the sake of aesthetics1In poems,there is a g reat deal of language that doesn p t violate the norm of it but set off other distorted language,i1e1the de-viant language1In this aspect,both formal deviation and logical deviation take the language as their norm1 212Logic that reflects reality as the second norm for logical deviationLogical deviation has tw o norms from different point of view:lang uage and log ic1Semantically speaking,the two compared items used in metaphor, for exam ple,are not equal since their semantic com-ponents are not the same1In the sentence/T he child is father of the m an0,the semantic components of /child0are:H UMAN,-ADU LT,MALE,w hile those of/father0are:HUM AN,ADULT,MALE1 The only one different semantic component makes them apart1Another norm of logical deviation is logic that reflects reality1Although it conforms to the gram mar of the language,the content that it contains does not accord w ith the reality1T hus it reflects something that logically does not exist in reality1 When Wordsw orth says/The child is father of the man0,he does not violate the g rammar rule/subject +be+predicative0,but the log ic in the idea of the concept of/child0being equal to that of/father0goes ag ainst the log ic w e derive from reality131Essence of poetic deviationIn an essay called/HÊlderlin and the Essence of Poetry0(1936)H eidegg er states,/We))) mankind)))are a conversation10There is,and has been,but one conversation,and the subject of this conversation is Being,the unnam eable ex istence1[8] H e points out,the poet p s share in this conversation is his verse,and the subject,or topic,of this conversa-tion is/Being0.HÊlderlin p s name for it is/the gods0.The poet nam es the gods and names all things in that w hich they are1This naming does not consist merely in something already know n being supplied w ith a name;it is rather that when the poet speaks the essential w ord,the existent is by this naming nominated as w hat it is1So it becomes know n as ex is-tent1Poetry is the establishing of being by means of314西南民族学院学报#哲学社会科学版第24卷the w ord1[9]According to what he says here,the poet or his poem does not name any thing that is already know n and has an ex isting name1He uses a new name and w hen the/essential word0is spoken,that w hich is found by the poet as what it is is/established0as /ex istent0in particular time and space1The poet is bound to use a new name to name his new experience or understanding of being if he is to w rite a good and real poem1/Onetwothreefourfive0is different from /one,two,three,four,five0.The new name is a deviation from the orig inal name and brings a new signified that indicates new human understanding or discovery of being1When anyone reads,his under-standing of the being is to be renew ed1What devia-tion brings is a new meaning or a meaning that goes beyond the original one1In the case of log ical deviation,the inconsistent logic between the tw o related concepts,like that be-tw een/child0and/father0in the line/T he child is father of the man0,serves as an index to the exis-tence of a new name for the/child0and points to a new m eaning or Being of/child01Log ical deviation such as metaphor is alw ays a logical absurdity because logically tw o things can never be the same thing and still remain tw o things1The poet,how ever,uses /these tw o crude,archaic forms of thoug ht in the most uninhibited w ay,because his job is not to de-scribe nature,but to show a world completely ab-sorbed and possessed by the human mind10[10]So he produces w hat Baudelaire called a/suggestive mag ic0 including at the same time object and subject,the w orld outside the artist and the artist himself1The motive for metaphor,according to Wallace Stevens, is a desire to associate,and finally to identify,the hum an mind w ith w hat goes on outside it1[11]The poet turns his logical content loose to shift for itself in the w orld of fortuitous experience,to get out of the w orld of pure logical content1It is a disrespect to the logic,but a respect to something called/poetic0ex-perience,which is only to be had by disrespecting w hatever kind of logical content w e start w ith1[12] ConclusionDeviations of poetic lang uage are strange and out of convention,thus they seem to prevent the reader from reaching correct com prehension of them1But as long as the reader endeavors to decode them)))both from the study of conscious and unconscious mind of the poet w hen creating the poem,they can be grasped well1Deviant poetic expressions largely exist in surre-alist poetry in which the surrealist poet w idely em-ploys metaphorical devices concerned w ith log ical de-viation1Surrealist poetry is created automatically and more associated w ith the poet p s unconscious m ind1 That is why it is by far the most difficult to under-stand1We can see by analysis that deviations of poetic lang uage are virtually the poet p s new understanding and original nam ing of the reality1T hey lig hten the world in a sudden1In a w orld w here there is language lim itation,it is indispensable that deviations reflect-ing new understanding of the reality come into ex is-tence1Strange as deviations are,they are not the per-verseness of the poet but a flash of his w isdom1参考文献:[1]Leech,G1N1A Linguistic Guide to Engli sh Poetry1London andNew York11987,p142.[2]Ibid1,p142.[3]Ibid1,p145.[4]秦秀白1英语文体学入门1湖南教育出版社,1986.P.102.[5]Leech,G1N1A Linguistic Guide to Engli sh Poetry1London andNew York11987,p1471[6]Ibid1,p1481[7]Ibid1,p1481[8]Heidegger1Poetry As the Path to Being1Th e Tw entieth Centuryto W ri ttgenstein and Sartre1Second Editi on,Revi sed1New York, Chicago,San Francisco,Atlanta11975,p13271[9]Ibid1,pp1327-3281[10]Frye,N1Th e M otive for M etaphor1The Norton Reader1EighthEdition1New York&London11992,p110631[11]Ibid1[12]Winters,Y1T he Logical Critic1T he New Criticism1Greenw oodpress1Inc11979,p12241(责任编辑陈灿平)第3期马永红诗歌变异语言及其实质315,,,,,,,,,,,,,,,The Three Layers of Love Description by Mariks in A C entury Loneness Li X iao-ling(225) ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Rejection&Deconstruction Zhang Y an(229) A bstract:F lanner y O.Connor,renow ned as the Southern Catholic woman w riter,is not a typical feminist,but she has a clear and conscientious feminist standpoin t.T his paper,through tex tual analysis,aims to thr ow lig ht on the author.s imp lied feminism.T he author concludes that O.Connor not only rejects t he g ender no rm established by patriar chy fo r the female but also w recks the accept-ed masculi ne image so as to bestow the female with spiritual freedom,believ ing that O.Con nor.s eccentr ic and abno rmal characters and their absurd ex periences imply her d eep r eflection on and genuine concern for w omen.s ex istent ial condit ions.The Abnormal Maternal Love under Diff erent Culture Background Wan g Jing-y an(234),,,,,,,,,,,,,,,A bstract:T his essay mainly want to r eg ar d the two novels life is in other place,the chilly night as t he ex amples,and to ex amine the personal,instinctive an d subconscious things o f the tw o novels under different culture background.T he tw o novels have an identical literature motif,and this essay will analy ze the different mutations under different culture backg round of the identical literatu re mo-tif.At first,the conflict patterns of the two novels are different,L if e is in other place is the/mother)son0conflict pattern;T he chilly night is t he/mother-in-law-g irl-in-law0conflict pattern.Secondly,the tragedy kinds o f two mot hers in the two nov-els are different,human.s tragedy comes from herse lf;Wang mot her.s tragedy is mostly caused by others.,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Heminwei and his/Women0Zhu Wen-li(239) C omparison on Erya Shiming Wang Fei-hua(245),,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,A bstract:T his art icle makes a super ficial co mparison on Erya and Shiming.It a naly zes their sections and chapters,heredity relation, t he number of vocabulary entry in a same meaning g roup,the mode of explanation,the concr ete methods of meaning ex planation of w ords,the meaning-denotation function of sound explanat ion of words.,,,,,,,,,,,,,,,,,,,,,,,,,On the Sentences with Bei in Jin Ping Mei Zheng Jian-pi ng(250) A bstract:T his paper deals w ith the uses of the w ord bei in Jinpingmei.In the c ase of grammar,the structur es/Bei+V+O1+ O20,/Bei+Np+SV phrase0,and/B ei+N p1+Np20sug gests the differ ence betw een Jinping mei and moder n Chinese.In the case of semantics,that/Bei0is used to indicate r easons is also different fr om that in modern Chinese.,,,,,,,,,,,,,,,,,,,,,,,,,,,,,On Qi and Zhan in Sichuan dialect Zhou Jun-x un(261) A bstract:Q i and Zhan in Sichuan dialect conserve many ancient usages.By descri bing their meanings used in today.s Sichuan dialect and comparing them w ith that in mediev al Chinese,w e w ill be able to provide some co nvincing proof fo r analy ze their meanings and usages in medieval Chinese.T he study of Chinese dialect c an supply the r esearch of histor y o f Chinese w ith mater ials,w hich equal to t he spo ken languag e that were used in that time.,,,,,,,,,,,,,,,Re-construction of the Chinese Modern Academic Im age of writing M a Zheng-ping(264) On the Specialization of C hinese Teachers and Chinese Textbooks Ref ormation L iu Ji-yuan(269),,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Rise from Side Zhou Hua-fen(275),,,,,,,,,,,,,,,,The Inheritance and C reation by City Newspaper to Evening Paper W u Ding-yong(281) The Social Factors Affecting Media Control T ang Y ing(291),,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,The Inf luence from Foreign Words on Translation into Chinese because of Economic D evelopment Zhan g M eng(294),,,,,,,,,,,,,The Similarity and Difference of Colour Words and Colour Awareness Cheng Fang-ming(297),,,,,,,,,,,,,,,,,,,,,,,,,,,,,Academic Japanese Oral Teaching in College Bi L ing(302),,,,,,,,,,,,,,,,,,,,Model Theory of Reading and F oreign Language Teaching Yi Q ian-hong(306),,,,,,,,,,,,,,,,,,,,,,,,,,,,,Poetic Deviations and Its Essence M a Yo ng-hong(310) A bstract:T his essay aims mainly to analyze the kinds,essence and norms of the dev iat ions that actually exist in poetry.F or t he con-venience of investig at ion,poetic deviat ions can be divided into two kinds:formal dev iation and lo gical(s emant ic)dev iation.Norm is considered or accepted as standar d and used to disti nguish poetic deviation.T here are tw o norms:language as the first norm for bo t h formal and logical deviations,and logic that r eflects r eality as the second norm for logical deviation.We can see by analysi s t hat a-l thoug h deviations of p o etic language are strang e and out of conv ention,they ar e virtually the poet.s new understanding and original naming of the reality.,,,,,,,,,,,,,,,,,,,,,,,,,,Tactful Words from the Aspect of Wording Liu Shu-zhen(316),,,,,,,,,,,,,,,,,,,,,,The Art C haracter of Female Prose in Taiwan Wang Jing Zeng M ing(319),,,,,,,,,,,,,,,,,,,,,,The Culture Nature of Poetry by Yu Guang-zhong Luo Chang-zh i(323),,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Wideness,Greatness and Beauty Xu Xi-ping(327),,,,,,,,,,,,,,,,,,The Rise of The Long Novel of Liangshan Yi People Lv Hao-shuang(330)。