失去的收获—关于顾城弃世的

摘   要

1993年的10月8日，新西兰的激流岛，那个用利斧和绳索编织的“童话”，最后诠释了顾城坚守的“自我”：从最初的自然的“我”，到“文化的我”，然后是“反文化的我”，再到“无我”，诗人1直寻求着。虽然诗人自己也认识到这是1个走不出来的怪圈，但是他在艺术上依然对抗着生活中所逃避的外部世界。如果逃避也是1种抗争，顾城算得上1个10足的战士。战士用诗歌记录下自己的想象和梦幻，要去还原自然，建造那个诗和童话的花园，而且不得不用“语言”这种社会性的工具去完成自然和理想的重铸，这本身就是1个悖论。如同诗人的“自我”与外在世界之间的隔膜、封闭导致其自我分裂，惧怕外在世界的吞没而选择了自由的并不“悲伤”的“永逝”。本文中，笔者试图通过寻找诗人弃世的内在合理性去发现这1行为的生命意义和文学意义。
    关键词：顾城；“自我” ；危机；仪式   

 
ABSTRACT

    October 8 of 1993, Turbulent current island of New Zealand, that “fairy tale” maken with sharp axe and rope, annotated “myself” Gu Cheng persevered finally. From initial “I am natural” then to “I am cultural” to “I am counterculture”and then to “losing myself”, the poet has been seeking all the time. Though poet realizes this is a strange circle not coming out, but he still opposes the external world escaped in life in art. It is a kind of fight if escape, Gu Cheng is regarded as a sheer soldier. The soldier who notes his own imagination and illusion with the poem, will reduce naturally, build the gardens of that poem and fairy tale. And have to finish natural and ideal casting again with such social tool of “language”, that is a paradox itself. Cause it to split with the lack of mutual understanding among world outside and closly oneself like the poet’s “myself”, he who feared external world had swallowed up and chosen “die forever” not the sadness about freedom. In the this text, I will attempt to look for inherent rationality that poet pass away go, find the life meaning and literature meaning of this behavior.