Introduction to Bei Dao
Bei Dao has not only employed tools of punctuation, grammar, and style in his poetry but also traditional Chinese poetic conventions. Critics believe that the freestyle adopted in his writings is a consequence of the fact that his work has shown a manifestation of the orthodox Chinese style. They also bear acknowledgement of the scenic beauty of his land despite his self or otherwise exile from his homeland. Further, the translated manuscripts of his poetry are free from the need for grammar and punctuation. The haphazard use of imagery articulates the artistic and innovative quality of his work. His two poems demonstrate his will for survival through his unique images and broken syntax.
Survival in Bei Dao
The most prominent theme prevalent throughout these poems is of survival. Once he visited his dear friend, Mahmoud Darwish at Ramallah. The miserable situation of his friend forced him to write a poem regarding it. He observed that there was a unique similarity between the oppressive regime he was made to obey and that of the situation of his friend. Dao has employed excellent imagery in “Ramallah” saying “the ancients play chess in the starry sky” (Ramallah 2). It highlights the circumstances prevalent over there, and draws the reader’s attention toward the flame when he writes “the end game flickers” (3). This use of imagery indicates death. Further, the phrase “the sun climbs over the wall like an old man” (7) is yet another example where Bei Dao has emphasized the grave nature of the situation. The personification of the sun reinforces the theme of despair prevalent throughout the poem. Other phrase showing despair is “death blossoms” (14). Li claims that the structure of Dao’s poetry relies on “survival, a battle of voices, and a strategy of mapping out the vanishing self” which exhibits resistance against the ultimate captivating authority (Li). He is right because the “struggle” (Post 2) also shows the same at the end of “ten whole years / my era behind” (8-9)
Imagery in Bei Dao
Bei Dao uses isolated imagery and then makes a comparison between them so as to reiterate his theme. There is an extensive use of imagery not only in “Post” but also in “Ramallah.” For example, he says “a bird locked in a clock jumps out to tell the time” (Ramallah 4-5), however ironically the bird that escapes explains the time that they stay in captivity. The use of the phrase “the fir tree” (Post 2) is yet another instance of an isolated image. Another such use of imagery by Dao is that “words are the prison in the morning” (1) in “Morning Song” as explained by Li just an attempt to go for survival that is said to be a “struggle/ cherishing the same secret/ my hair turned white” (Post 2-4) in “Post.”
Chinese Style of Bei Dao
It has been thought that the unique Chinese style of English writing accounts for the ultimate fascination of his poetry. His unique style makes no proper use of syntax. The syntax is rather the hallmark of narration in English. The improper use of syntax adds the effect of spontaneity to his poetry. The contrasting imagery used in his poems clarifies the theme of poetry. This style of narration attracts the reader in a peculiar way, making him/her want to read more of it and explore new dimensions of the themes such as the “fir tree said” in his poem “Post” which tells a short story in continuing sentences. There is a scope for the use of diverse imagery and similes in this style of narration, which is clear form “Ramallah” and “The Morning Song.”
Conclusion
To conclude here, his work is reminiscent of the existence under oppressive regimes whether it is in communist China or occupied Palestine. The purpose behind the use of extensive isolated imagery in his poetry is to highlight the oppressive regimes operative in both his own and his friend’s country. It seems that Bei Dao has the same natural vision of the Chinese language that they write poetry in a somewhat broken and freestyle. Dao employed the same unique Chinese style to effectively portray a clear picture of the grave situation in his homeland. The beauty of his ideas and narrations has enabled him to win hearts.
Works Cited
- Dao, Bei. “Poems”. Poetry Foundation. n.d. Web. Accessed 13 Nov. 2020.
- Li, Dian. “The Chinese Poetry of Bei Dao, 1978-2000: Resistance and Exile”. Mellen Press. 2006. Web. Accessed 13 Nov. 2020 —.
- ——“Unreal Images: Bei Dao’s Dialogue with the Real.” Concentric: Literary and Cultural Studies 32.1 (2006): 197-218.
Relevant Questions about Bei Dao Theme of Survival and Use of Free Style
- How does Bei Dao’s concept of survival manifest in his poetry, and what are the underlying themes and motifs that contribute to this exploration?
- In Bei Dao’s free verse poetry, how does he employ stylistic and formal elements to convey the challenges and uncertainties associated with the theme of survival?
- What role does Bei Dao’s use of free style play in his poetic expression of personal and collective struggles for survival, particularly in the context of political and social upheaval?
