Yes, when you stand on the bridge and look at the scenery, you are naturally looking at the main body of the scenery, and those beautiful "scenery" are the "things" to see; The second line, the same time and space, people and scenery remain unchanged, but the perceptual status has changed. At the same time, another "landscape man" upstairs has become the subject of "seeing", and "you", who was originally watching the scenery, has now become the watched scenery, and the subject has also become the object.
In order to strengthen this philosophical thought, the poet immediately introduced the second poem, which is a combination of reality and imagination: "The bright moon decorated your window, and you decorated other people's dreams." This is a picture, but it is no longer in a frame, and the big time and space are still the same. The "decoration" in the two poems is only a unique rhetorical device in poetry. If it is written as "shining in" and "entering", it will not become a poem.
It may be someone who came back from watching the scenery, or it may be that the path has nothing to do with another person. In short, this "you" can be "he" or "I", which is not important. What matters is the relativity shown by the exchange of subject and object positions. In the first poem, "you" is the subject of this painting "Moonlight by the window", and the "bright moon" shining into the window is the object. I don't know, at this moment and night, you have entered a friend's dream and become a "decoration" in his dream.
The "other" who dreams of you becomes the subject, and the "you" who becomes the dreamer plays the role of the object. In the meaningful picture, the poet conveys the philosophy of life obtained from his intellectual thinking, that is, the poetic experience beyond the poet's emotion: everything can be relative and interrelated in the universe and even the whole life course.
In the combination of feelings, a moment can last forever; In the field of metaphysics, as the poet W. Blake said, "A world in a grain of sand" is not absolutely isolated, but relative and interrelated in the fields of life and morality, life and death, joy and sorrow, good and evil, beauty and ugliness. The poet wants to say that if people have an insight into this truth, they will not be bound by some secular concepts, and they will not care about whether they have it or not. They should have a thorough understanding of life and the world and gain freedom and transcendence.
This poem "Broken Chapter" is entirely about common things and outlook, and the philosophy of life expressed is not original by the poet. There is a sense of freshness after reading it. Apart from symbolizing the "meaning and image" of poetry, where is the secret? In my opinion, the key lies in the poet's ingenious arrangement of familiar materials (symbols) with modern consciousness. The poet once said: "Old materials, even rotten materials, are not necessarily unusable, as long as you are creative and properly arranged.
As long as it is a new clever arrangement, rags can also be made into white paper. What the poet calls "novel and ingenious arrangement" is also a novel artistic conception and ingenious language scheduling. Everything out of context is common, even familiar in classical poetry: figures, bridges, landscapes, buildings, windows, bright moons, dreams ... After careful selection and scheduling by the author, they are organized in two pictures, which has an internal connection.
The two poems connect unrelated things through "seeing" and "decorating" respectively. In terms of content and time sequence, the two poems can be separated, independent and set off against each other, giving full play to the artistic functions of image superposition and film montage in modern art, and a "broken chapter" is a complete artistic world.
There is a harmonious and inseparable relationship between the arrangement of out-of-context language form and the implication of content. This reminds us of some famous sentences in classical poetry. Zhang's "Moonlit Night on a Spring River" has "Who saw the moon by the river first? Photo taken at the beginning of Jiangyue "; There is a saying in Li Shangyin's "Midnight Suburb Villa": "Look at the mountain and miss me. Listen to the drums and leave the city. I will come to see you." Lv Kun used the term "intertextuality in duality" in the last two sentences. These two poems are characterized by "intertextuality in duality", that is, the subject and object of the two sentences are the same in connotation, but their functions are opposite. Bian used this method to sort out the out-of-chapter language.
The verbs "you stand on the bridge and watch the scenery" and "the people watching the scenery are watching you upstairs" have not changed, but the subject and object of watching have shifted; "The bright moon decorated your window" and "You decorated other people's dreams" are the same syntax. In this way, sentences are not only connected end to end, but also strengthen the density of language, the exchange of subject and object, the image of subject and object, enhance the effect of artistic conception of poetry and painting, produce an aesthetic effect of sound and meaning gyration in vision and hearing, and the philosophy of metaphor's relative correlation is also profound and concrete in image.