黄梵认为好的诗人都怕失去纯粹,实际上,这是诗人自认维护独创的手段和态度。诗人越是把兴奋点局限在个人视野,写诗就越像是个人操持的巫术,一种自己演给自己看的仪式,诗人乐于从中获得尊严和庄重。问题是,诗歌赖以生发的想象力,并非是可以凭空产生的幽灵,它来自书中那体面的历史、神话,成千上万的传说和人物等,或者就如荣格所说,它的源头甚至可以延伸到民族文化笼罩的集体无意识里。诗的长寿在于它生动的表现,在于它哪怕介绍一种错误的思想,都能让 Huang Fan thinks that good poets are afraid of losing pureness. In fact, this is the poet’s own means and attitude of safeguarding original ideas. The more the poet limits his excitement to his personal field of vision, the more he writes poetry, the personal witchcraft, a ritual he himself acts upon himself, and the poet enjoys his dignity and dignity. The problem is that the imagination that poetry relies on is not a ghost that can emerge out of thin air. It comes from the decent history, myths, tens of thousands of legends and characters in the book, or as Jung says, its The source can even extend to the collective unconscious of the national culture. The longevity of the poem lies in its vivid performance in that even if it introduces a wrong idea, it can make