{"uploadid": "v03a62g3d9cid2i7dldc5me244g", "duration": 325. 438, "sourceprovider": "readtt", "contanttype" 1:1, "extra": ""audio text":" our topic today is about poetry and poets, how should poets look for, belong to their own cultural traditions, and poetry itself, what is it? Unique values and limitations. That's right. These are interesting topics. Let's just start. The first thing we want to say is the relationship between poets and cultural traditions. Before doing so, can you talk first? Why? There is no way to judge a poet completely. And that is, every poet is unique, and his inner world is very rich, and any language of criticism is limited, and yes, so he has no way to complete it, and tell it all. That's right. That's how poets look for their most intimate cultural traditions. Everyone needs to know who they are before they find out who they are. And from the cultural traditions, the one that suits you best. So this is part of your own cultural gene, not to say, you created it in a vacuum. Sounds like you're looking for your own island in a vast cultural ocean. And so, this thing, you have to go on and on and on and on and on and on and on, and then you can really find your own, spiritual home. That's right. I'd like to ask you, the relationship between poetry and theory, and thought. Because some people would think that poetry is a very, very exclusive thing. What do you think? In fact, uh, the author doesn't think that poetry is a complete, clear line with thought. He's just talking about poetry, and it's not the boring theory. It's our instincts. Consciousness and intelligence, one thing that's very deep. That theory, it's just a way of understanding. It's not all, poetry. That is to say, poetry is not a theory, but it does not impede the existence of thought in the process of creation. That's right, it may contain some of the elements of thought, but it's definitely not, and it's all that comes out of it. It also takes many, many poets, intuition and inspiration. I see. Now that poetry needs so much intuitiveness and inspiration, you think poetry works. What are the conditions? Uh, the author thinks poetry is a very expensive thing. It's you who can't say you can buy at the supermarket. It requires you, with very hard learning, and the basis for training. And then, by accident, you're going to have that inspiration to turn it into a crystal. So what is the relationship between the purpose of writing and the beauty of poetry? Well, the author felt that writing it was actually a constant improvement of his character. And then, at the same time, one of the concerns about this world is that he doesn't like it. Just the man with the text. What he admires more is the fact that writers who continue to seek, to pursue virtue and to pursue beauty are right, and then he thinks that the beauty of poetry, though weak, is. But sometimes, that's the kind of weakness. A force can be created that cannot be ignored. Speaking of the power of poetry, that's an interesting question for us, that is. How can a poet react differently to this pain in his heart? And how do these reactions affect his writing? The author thinks it's, uh, this deep pain inside. It's actually a starting point for a lot of people on the path to poetry. But in response to the pain. There's gonna be a very different poet. Well, there's some people he wants. Open up your wounds and write them in a way that makes a mockery of itself or, in fact, excites. There's someone he's gonna be. It's a pain to pursue a sense of integrity. Then to face the world with one kind of compassion and forgiveness. What do you think of this, endless self-section of the role of poetry? Well, the author actually is. Recognition of this profound self-absorption is a basis for mature poetry. But he also reminds us that once this self-section becomes endless. That poem may not be able to exist. That's a good point, and we're now entering a more realistic problem, the dilemma of contemporary poetry. And aesthetics for salvation. Well, a lot of people are saying it now. Poetry seems increasingly marginalized. What is the impact of this phenomenon on poets, readers and culture as a whole? In the author's opinion, it's the sound of poetry now. It is hard to be heard in contemporary china. And then the halo that the poet used to have had become darker, and he felt that it was more than the sorrow of the poet. And it's the sadness of the readers. The cultural sadness of the entire time. What do you think of the author's idea of aesthetic salvation? What exactly does he think the problem is? And then he wants poetry. What changes can it make? He means that. It's not the poem itself that needs to be saved. What really needs to be saved is our fun. That's how we feel. We need poetry to wake up. Ok, we're today from poets to tradition. Talk about the nature of poetry, the hard work of creation, and then the different attitudes of poets in the face of suffering. Finally, we focused on the dilemma and hope of poetry. All right, that's it for today. Thank you for listening. See you next time. ", "ttts m"https://tosv. Byed. Org/obj/tos-tingtoutiao/ai podcast m== sync, corrected by elderman == @elder man
