Xu zhimo wrote in the preface to the tiger collection: "the poet is also a crazy bird." He put his soft heart close to the thorn of the rose and sang the brilliance of the stars and the moon and the hope of mankind until his painstaking efforts dripped out and dyed the white flowers red. " His pain and happiness are profound. "He is the most affectionate spoony prince. But his ending ended in a gentle and sad soul.
Zhimo's poems are poems that express the soul alone. He himself said, "What I want is a truly pure thought, which comes from my bones, my blood, my soul and my life." The "spirit of nature" emphasized by Xu Zhimo is actually a true feeling from the heart, a kind of inner affection. Driven by this emotion, he expressed his pursuit of ideals and beautiful things and his love for nature and love in his poems. It is this frank and sincere emotion that makes it always look so natural, with few artificial gouges, emitting a kind of natural vitality like "water of life" and having unique artistic charm.
"Happy Snowflakes" is undoubtedly such a pure poem. In the poem, the real me is completely occupied by time, and snowflakes appear instead of me, "flying in the air", but this is a snowflake, full of the poet's thoughts and worn by the soul. This is a snowflake of spirit, a human spirit, and he will die for beauty. It is worth recalling that he did not feel pain or despair in the pursuit of beauty. On the contrary, he fully enjoyed the freedom of choice and the joy of love. Snowflakes "fly, fly, fly", so firm, cheerful, relaxed and free, is really a self-evident and conscious result. And this beauty, she lives in a quiet place, in and out of the snow park, exudes the fragrance of cinnabar plums, and her heart is like a soft lake! She is an eternal illusion in modern aesthetics. For the poet Xu Zhimo, there may be deep personal objective factors, but naturally it is the internal motivation for the poet to choose "she" instead of "he" to join in the search for the dawn of the new century. The rotation, delay and final destination of snowflakes are completely consistent with the freedom, firmness and persistence of the poet's beautiful soul. The rhythm of this poem is the sound of nature and the symphony of the soul. Repeated "flying, flying, flying" weaves a profound picture of the soul.
The beauty of Xu Zhimo's poems lies in images. Image is the artistic conception of poetry and even the constituent elements of the whole poem, and it is the medium to arouse aesthetic experience. Poetry image is the externalization of the poet's inner feelings, and it is an organism combining meaning and image, which can express the poet's inner emotional experience.
For example, the second sentence of Xu Zhimo's "Nora in Shi 'an-for Japanese girls" is "the gentleness of bowing your head/the shame like hibiscus that the cool breeze can't overcome/the way to cherish one's life/the sweet sorrow in the way to cherish one's life-Nora in Shi 'an". Compared with the water lotus that vibrates in the cool breeze, the water lotus emerges from the mud without being stained, and looks pure and flawless when it grows on the blue waves; At the same time, the water lilies in the wind are swaying, which looks delicate and charming. This is the beauty of the image itself. The poet compares a Japanese girl to a hibiscus, which highlights the gentle charm of the girl and vividly depicts a demure, pure and feminine female image. This is the beauty of figurative images, that is, the beauty of Japanese women's bodies. Further appreciation, because Japanese girls are inseparable, they are shy and gentle, and their hearts are painful. This image sets off the girl's deep separation. In this way, the connoisseur used his imagination to transcend the real time and space and brought himself to the moment when the poet and the girl parted, thus enjoying the modal beauty of the Japanese girl at that time. Further understanding, when Japanese girls break up with poets, it seems that they have a lot to say and are embarrassed to say it, so they bow their heads affectionately and make them feel shy. This is different from the scene where a woman in China said goodbye to her lover, holding hands and looking at each other with tears, but she was speechless and choked up. The word "shame" shows the distinct beauty of women's virtuous, gentle and dignified personality. In this way, from the image of "water lotus", the beauty of water lotus itself-the physical beauty of girls-the modal beauty of girls-the gender beauty of Japanese women can be said to be meaningful, beautiful and wonderful.
The beauty of Xu Zhimo's poems lies in the melody. Xu Zhimo's pursuit of musical beauty is almost obsessive. From the perspective of syllables, the syllables and melodies of Xu Zhimo's poems are very natural and harmonious. He once said: "The beauty of poetry lies not in its meaning, but in its elusive syllables."
Farewell to Cambridge is undoubtedly the most famous one. Section 1 is about thousands of parting worries when long-lost classmates leave their alma mater. The use of the three words "tenderness" makes us feel that the poet seems to stand on tiptoe, like a breeze, quietly waving away, while the deepest love has turned into a "floating cloud in the west" between waves. Verses 2 to 6 describe the poet boating on the He Kang River in search of his dreams. The golden willows covered with sunset glow, the green grass on the soft mud and the pool under the shade of the tree all come into view. The two metaphors are quite accurate: the first one boldly imagines the "golden willow by the river" as a "bride in the sunset", which makes the dead scenery become a living thing, warm and pleasant; The second is that the clear pool water is suspected to be a "rainbow in the sky", but it has been crushed by floating algae and turned into a "rainbow-like dream". It is in "Crazy in Love" that poets, such as Zhuang Zhoumeng Butterfly, are interested in things and me, feel that "beautiful shadows are rippling in my heart" and are willing to be the swaying water plants in the gentle waves of He Kanghe. This good structure of the unity of subject and object is not only a wonderful hand, but also a painstaking effort; In verses 5 and 6, the poet opens up a new artistic conception. Borrowing the four refrain "Dream/Dream", "A boat full of starlight,/Singing in the starlight", "Singing,/But I can't sing" and "Summer insects are silent for me/silence is the Cambridge tonight", the whole poem is pushed to a climax, just like the He Kang River, full of twists and turns! But his madness of falling on the greener grass and singing in the bright stars did not come true. At this time, silence and silence are better than many love words! The last section has three "quietness" corresponding to the first cycle. Come smartly, go smartly. With a wave of his sleeve, what shook off? Needless to say. Since I once lived in Cambridge, why should I take a cloud with me? The whole poem is the best description of Xu Zhimo's "poetic life" in one go. This poem "Farewell to Cambridge": The whole poem consists of seven sections, each with four lines and two or three meals each. Eclectic, rigorous, rhyming with two or four rhymes, cadence, catchy. This beautiful rhythm ripples like ripples, which is not only the voice of pious students seeking dreams, but also conforms to the ebb and flow of poets' emotions and has a unique aesthetic pleasure. The seven verses are strewn at random, and the rhythm spreads slowly in them, which is quite a poet's temperament of "white robe and thin suburban island". It can be said that it embodies Xu Zhimo's idea of the beauty of poetry music.
"I left quietly/just as I came quietly/I waved my sleeves/I didn't take a cloud with me." The poet quietly left, and he was bent on "flying" and finally turned into an eternal flame in the blue sky. He left nothing but poems that he had never written before or after.