Through The Chinese Boundary For The Images Of Spirit

Poet Mai Cheng is known for his unique and delicate poetic language style in recent Chinese poetic circles, which attracting more and more concern and curiosity from critics and poets. He is wandering alone at the edge of poetic texts and living circumstances, resting in the forgotten past, or lingering among the spaces of the moving moments despite of fame and position. His brush strokes fully insists on the looking of the poetry unconcerned, and indulging in the reverent and conversant feelings of self-admiration. It makes him within the eyesight of the public and become an indispensable extraordinary talent in the circle of poetry. On the basis of close reading of Mai Cheng's poems, this essay is combing and inquiring deeply into the creation ideas of his poems; seeking for the presentations and structures of the theme of his poems under the circumstances of the forbearance of the anomic reality, the philosophical contents and mental driving forces expressing between the lines of space image totem; the paper also tries to reveal the long-sighted and generous spiritual side within the mist of the suspension of Mai Cheng's language.In the circumstances of this superficial reality, Mai Cheng deeply feels the anomie between traditions and realities. On one hand, he proceeds without hesitation on the awkward images of the withdrawal of traditions and desolately ridicules the unique portraits of the figures. Meanwhile, his poems express the irreconcilable conflicts between daily life and exterior situation. On the other hand, in the jail of thoughts, his writing rebels on the way to digesting historical views, removing language theories, and submitting to deaths and resurrection. The unusual mental concepts he upholds could be summed up to the dissociation beyond the reality. For the world lost of the traditional totems, Mai Cheng indulges in the silent resound to outwardly render the symbolized announcement: derivation from the existing spaces,"drawer","grave","elevator", and"train"and etc.; as well he is addicted in the metonymy space transformation of the words and the critical spaces like"doors"and"walls"under the structure of isolation and intimidation shaping a richly ornamented Maicheng. While the floating language structure casts the key to Mai Cheng's soul, spinning the spiritual driving forces of bless and alienation and the shooting effects of the external environments. In the transcurrent noiseless hubbub, the sense and context of the vagueness language and the gradual cross-examination constitutes the paradox emotions of Mai Cheng's poems, which cuts off the hollow ideological symbols and the traditional identity of clichés and makes his language structure present the diversified eternal explanations and alternative space unions. In addition, Mai Cheng makes cross use of the modern filming techniques Montage and McGuffin, which deliberately mystifying the presence of space overlying and the thorough deconstruction and overturn of the existence.