.. I didn't bring my Chinese notes, which is probably what I said. ..
Ah, I found it.
introduce
The conception of poetry is based on images, and real life can only be transformed into poetic images through the bridge of images. "Ai Qing's poetry is an unsurpassed peak in the history of new poetry" (in the words of Mr. Huang Manjun, the supervisor of modern literature). Ai Qing achieved such a high position in the new literature and became one of the world's outstanding poets, mainly because he pursued unique and beautiful images in his poems, thus creating immortal poems. Next, Digwin hopes to make a rough study of the image construction art of Ai Qing's poems from several aspects, thus revealing the essence of Ai Qing's poems.
First, the types of images created by Ai Qing's poems.
Ai Qing constructed the following images in his poetry creation, forming his rich image community.
Descriptive images. The descriptive images in Ai Qing's poems show that the poet's thoughts and feelings permeate events and images, which directly permeate the poet's thoughts and feelings. Most of these images are for expression and relative exposure. In ancient China, many lyric poems were composed of pure descriptive images. There is a passage in Liu Changqing's Master Pu Shan in Su Ying in the Snow: "At the foot of the mountain, it is cold and the house is poor. The east gate smells dogs barking, and the night snow returns to people. " Lu Lun's "Shooting with Zhang Servant" has "The dark wind blows in the forest, and the general tries to shoot at night. The next morning, he found his white arrow deeply stuck in the hard rock. The poet's feelings are all in concrete description images, and his praise and criticism of characters are expressed from behaviors and images. Ai Qing learned from the ancients and made the past serve the present. Descriptive image is one of the common image types in his poetry creation. Many poems are composed of pure descriptive images, and Donkey is mainly composed of descriptive images. "Your sandy body/dry hair peeling body/dragging that/endless running on the Yuan Ye/people's poor things; /your drooping ears/weak ears/used to hearing/sad screams from the axle to the clearing; /Gray eyes/reflections/vast land in the north/rugged desolate roads; /You are tired, you have worked hard, you are lonely/In this land that is always covered by sand/donkeys,/You are the most cordial friend of the people in the north. " This poem is about an ordinary and humble donkey in the north, without any heroic language, symbolism, metaphor, exaggeration, deformation and metonymy. Instead, it uses plain, simple and fluent language and direct narrative language to describe the donkey. The overall image of the donkey is composed of a single image of each part of the donkey's body, set off by the image of the land. Every image is described by descriptive adjectives such as shape and expression. The image of the donkey is dismembered by the "hairy body", "poor thing", "drooping ears" and "little feet and little hooves", and then this image is synthesized by these images. Except in lyric poems, in Ai Qing's narrative poems, the proportion of direct description of images is larger, so there is no need to give more examples here. Most notably, in his masterpiece Dayan River-My Nanny, the use of descriptive images has reached a very successful level. "Dayan River, I saw the snow today, which reminds me of you:/Your grassy grave under the pressure of snow,/Your dead tile under the eaves of your closed former residence,/Your garden pawned by a square foot, your mossy marble chair in front of your door,/Dayan River, I saw the snow today, which reminds me of you. /You hold me in your arms with your big palm and touch me; /After you set up the stove,/After you took off the charcoal ash,/After you tasted the rice and cooked it,/After you put the black sauce bowl on the black table,/After you mended your sons' clothes torn by thorns on the hillside,/After you strangled the lice on their shirts one by one,/After you wrapped the handbags that the children cut with wooden knives/After you picked up the first one today. They are not only the concrete sadness of Dayanhe, who has a bleak life experience, but also the concrete expression of the Oedipus complex of Dayanhe's poets. Use several emotional descriptive images such as graves, tiles, deserted gardens, stone chairs, stoves, aprons, sauce bowls, lice, eggs, etc. to show off the memory of Dayan and her tragic life, as well as her gratitude for her care for women.
Ai Qing uses a lot of descriptive images in his poetry creation, which constitutes his artistic style of poetic beauty. Many poems use a large number of descriptive single images to describe the central image or the main image extravagantly, which constitutes the language potential of hearty parallelism and also causes the characteristics of long sentences in language arrangement. At the same time, a large number of descriptive images are used to make poetry explain something in detail, which is similar to narrative literature, and also leads to his simple and unobtrusive poetry style. These characteristics are the basic requirements of the beauty of Ai Qing's prose. Of course, descriptive images also brought negative factors to his poetry creation. Too many descriptive images have caused many shortcomings in his poems, such as the loss of poetic quality, the lack of emptiness and the bloated exposure, and the poor jumping and elasticity of his poems.
A figurative image. The so-called figurative image refers to the image created by the poet in a figurative way. It is based on the similarity between ontology and vehicle, which is similar to something, idea or emotion. In Ai Qing's poems, people and things can be described with concrete images, such as "Poems from Other Places", "Vienna", "There are majestic mountains on both sides of the valley/every mountain is as solemn as a castle/spruce on the mountain is a neat and powerful and well-guarded basin surrounded by Wan Jian/mountains/green cradle/beautiful Vienna/legendary princess/. Too many poems are attributed to the use of excellent figurative images. The ontological images of "Mountain", "Spruce", "Basin" and "Vienna" are connected with the vehicle images of "Castle", "Sword", "Guardian", "Cradle" and "Princess" with the conjunctions of "Image" and "Yes" respectively, which makes Vienna's dignified, gentle and beautiful character stand out from the page.
In addition to describing people and things, figurative images in poetry have the most prominent function of turning abstraction into concreteness, and turning shapeless, invisible and intangible feelings, thoughts, personalities and sounds into concrete pictures, giving people a profound and realistic feeling. "The combination of selfishness and greed will produce many poisonous snakes that harm people." The abstract concepts of "selfishness" and "greed" can be described as transparent by the image of a poisonous snake. Wind on the mountain: "The wind on the mountain/is a sculptor/eroding day and night/beating all the year round//sometimes heroic/Xiaoshilou collapses/sometimes finely broken/the rock is cut into pieces/ground into powder and turned into sediment." The wind is invisible and intangible, but after natural weathering, it becomes tangible, concrete and vivid, which is in the same strain as the onomatopoeic techniques of ancient poets in China. The ancients were good at describing acoustics with concrete images, such as Pipa Xing and listening to clever teachers playing the piano. Ai Qing's musical work Seiji Ozawa is not inferior to the ancients. "Mobilize many voices/,/to obey your orders and go to war; //Organize all musical instruments,/Form a tribe/March towards a unified goal ...//Your ears are scouting,/Your eyes are listening,/Your baton/Your nerves are beating:/Or March on a moonlit night,/You can hear hooves; /or bow your head,/listen to the whispers of your lover in the evening; The knife suddenly came like a storm,/roared,/you jumped into the air,/you heard the roar. /You have the courage to command the battle,/You are the general of the music position//Immediately after the last symbol,/There was prolonged applause. " Ai Qing used a lot of figurative images in his poems to describe the grand occasion of Seiji Ozawa concert, which was vivid and had three-dimensional realistic effect.
Metaphor can be divided into simile, metaphor, metonymy and metaphor. From these four aspects, Ai Qing's poetic images can be divided into simile images, metaphorical images, metonymic images and metaphorical images. The so-called simile, in figures of speech, refers to the metaphor that connects the ontology and the vehicle with words such as "Ru, Tong, Xiang, Xiang". Simile image is an image with the same meaning as simile figure of speech, which is often used by poets. Written after Out of the Mountain, To the Soul of an Old Friend Dana wrote: "In turmoil,/friendship is like a reed on a cloudy day,/shivering in the wind." Reed image is a metaphor of friendship, which has never existed since ancient times. Very novel and original. "Marseille" wrote: "The uneven road makes the vehicles roll like women in the village." The vehicle and its roar are obviously regarded as the curse of the village women, which gives a concrete feeling to the uneven streets of Marseille and sets off the noise of the vehicle and the ill feelings it causes.
Metaphor means that both ontology and vehicle appear, but the copula is either expressed by "yes" or hidden, and there is only a separate arrangement of ontology and vehicle. Metaphorical image is a form of image formation related to metaphorical rhetoric. "Paris/You are a beautiful prostitute suffering from hysteria" ("Paris"); "Asphalt roads, tracks and roads are lively sentences./Wheels Ten wheels+wheels are jumping reading points/whistles+whistles+whistles are exclamation points." Paris, you-hide/you slutty/slutty/coquettish girl. (ditto) "Chimney! You are a woman who was raped by capital! /Black soot like a woman's hair is scattered/abandoned on the top of her head/"(Marseille) These are metaphorical images, from which we can see Ai Qing's double feelings about capitalist civilization in his" foreign poems "in the early and late period. These cities are like women. They are beautiful and charming. They are lovely women and naked prostitutes. The beautiful body makes the poet impulsive, but the ugly and dirty soul makes the poet afraid and avoid the trinity. This ambivalence of loving and fearing capitalist material civilization and spiritual civilization represents the feelings of ordinary people in China. Such rich emotions are expressed only by these metaphorical images, which is enough to see the rich connotation of Ai Qing's poetic images.
Metonymy is a figure of speech: noumenon or vehicle only appears above, but not below; Or there is an aspect of ontology and carrier that needs no explanation for obvious reasons. Metonymic images are images associated with metonymic figures of speech. Compared with simile images and metaphorical images, it has greater tension and can stimulate readers' imagination. "On the Waves": "Ambition ferments in the dark/lust grows with power; /Selfishness and arrogance race,/Conscience walks into the auction house. " This neat poem uses two figures of speech, one is personification and the other is metaphor. "The race between selfishness and arrogance" is an anthropomorphic sentence, "Conscience walks into the auction house" is both anthropomorphic and metaphorical, and everything else is metaphorical. Here, an implicit image is used. The images of vehicle "wine" and "commodity" did not appear, but implied the existence of vehicle image through two actions: "fermentation" and "walking into the auction house". This group of metaphorical images highlights the abstract concepts of truth extinction, moral decay and the overflow of human desire in "turbulent times" with concrete images. In life, "the blue river stirs in the land/the blue vein stirs in my arms". On the surface, the first sentence and the second sentence are two unrelated images, but in essence they can be regarded as metonymic images by analogy (two different images are linked because they are similar in a certain point). Rivers are like veins, and land is like arms. The superposition of two groups of images embodies Ai Qing's life consciousness of living and dying with the land. The "decadent days" in "The Land of the Resurrection" have already sunk into the bottom of the river,/washed away by running water/left almost no trace. "Decadent days" refers to time, which is intangible. Why do they sink to the bottom of the river and let the running water wash away almost without leaving a trace? This is because there is another uncertain image, which is either stone, sediment or garbage, thus concretizing time and metaphorically turning it into the above-mentioned uncertain image. (Orange) is a cheerful and happy poem, and the happy mood is produced by a series of associations caused by an orange. The poet compared the orange to his heart, but he didn't say the word "heart", which is a figurative image. "Little Orange" shows a beautiful world with girls, sunshine, fountains, songs and flowers-this is also the embodiment of the poet's happy mood at that time.
Another image in Ai Qing's poems is metaphorical image. Li once said: "Some poems are all composed of metaphors, that is, Bo Yi in China's ancient poems, which can be called metaphorical images, universal images, or' Shakespeare's metaphor' images (in western literary criticism, metaphors in Shakespeare's plays are endless, and there are countless metaphors in different styles when writing the same object, so it is called' Shakespeare's image')" From Li's discussion, we can also divide metaphorical images into two types.
Ai Qing's poems mostly use the latter figurative image, that is, describing and explaining an object from different sides with various metaphors. The Pond in Winter is a masterpiece of this image, which has been translated into many languages. The main reason why it is famous overseas is the wonderful use of metaphorical images in this poem. "The pond in winter,/lonely as an old man's heart-/has experienced the bitterness of the world; /In winter, the pond dries up like an old man's eyes-/It has lost its lustrous eyes by hard work; The pond in winter,/as barren as the old man's hair-/as sparse and gray as frost grass; /The pond in winter is as dark as a sad old man-/The old man detained under the gloomy sky. " Ai Qing pointed in the opposite direction on the central image "pond in winter" with three equivalent images of "heart", "hair" and "eye". Based on this artistic treatment, the poet expressed the aesthetic view of "the beauty of suffering". He is in a state where all his vitality has been stifled, expressing his deep indignation, reminding people of the dilapidated scene in the occupied areas, thus causing sympathy and hatred for readers. This is the significance of Ai Qing's "beauty of suffering". To the spirit of Dyna: "How precious and difficult the friendship of our time is-//Just like the photos left after the fire. 2/ Like a porcelain bowl picked up after an earthquake,/Like a mast exposed from the sea by a sunken ship,/A wry smile exposed after a vigorous exercise,/A poem full of regrets but never completed. " Ai Qing, who survived the robbery, knew that the world was cold and attached more importance to true friendship. Therefore, using metaphorical images to describe their friendship shows that friendship in trouble is true friendship and precious. Another example is Hickory, which describes Hickory in this way: "Each one is like a bronze casting/engraved with Oracle Bone Inscriptions/engraved with boxwood/beautifully carved, with endless changes/I don't know whether it is a dialogue between heaven and earth/or talking about storms and thunder." This neat poem is rich in connotation, which is the result of Ai Qing injecting social, historical, cultural and natural meanings into the image of pecan through a series of metaphors, thus making it alive.
A symbolic image. Symbolic images are widely used in Ai Qing's poetry creation, occupying the most important position. Almost all his excellent works are derived from symbolic images, which is inseparable from his early influence on western modernist poetry. Because many poems use symbolic brushwork, some people classify Ai Qing as a "symbolist", which Ai Qing himself and many researchers strongly deny. In my opinion, what matters is not which category Ai Qing belongs to and which class she stands in, but that no one can deny the important position of symbolic images in her poetry creation. It can be said that the symbolic image established Ai Qing's position in the field of new poetry. Without the use of symbolic images, there would be no Ai Qing, the "leading poet". It is impossible to use symbolic images without using symbolic techniques or drawing lessons from western modernist poetry. Commenting on Ai Qing, Hu Feng said, "So he cursed Marseille and Paris. Cursed but at the same time feeling love, because there are poets Baudelaire, Rambo and Apollinaire. " (2) He once said: "What I like best and am deeply influenced is the great Belgian poet Valhallen." (3) Valhallen often uses symbolism to express the expansion and expansion of urban malformations and the decline of rural areas in western Europe at the end of19th century. During his three years of free and poor vagrancy in France, Ai Qing "also read some collections of poems and poems in French, such as Brock's (12), Mayakovski's Clouds in Pants, Ye Saining's Confessions of Frahan and Po.
Rinell's Alcohol, the poems of Rambo, a modern French poet, and Selected Poems of Modern France, etc. "④
Therefore, Ai Qing's symbolic image is inseparable from symbolism. It is necessary and realistic for us to study the symbolic images in his poems.
On the relationship between poetry of one generation and poetry of another.
Ai Qing used the symbolism of modernist poetry for reference. Of course, the symbolic image we are talking about is not only a school of symbolism, but also refers to the aesthetic and rhetorical significance of poetry. Symbols are divided into connotation and media. Connotation means that symbolic objects often refer to an abstract idea, intangible emotion, or intangible things; Media is the object and thing of literary description. The image that contains abstract ideas, emotions and intangible things is a symbolic image. Symbolic images are common in Chinese and foreign ancient and modern poetry creation, and are used more frequently in modernist poetry. It can be said that symbolic image is the main artistic feature of modernist poetry. Malamei, the representative figure of symbolism, said that "speaking is destruction, suggesting is creation" has become the symbol of symbolic poets. In China's classical poems, the bright moon is the symbolic image of his Li Bai poems. Plum blossom is a symbolic image in Lu You's poems. The "bright moon" and "Guan" in "the bright moon of Qin, the Guan of Han" are the image symbols of the historical phenomenon of frontier fortress in Wang Changling's poems. In the creation of new poetry, Ai Qing is one of the best poets who use symbolic images. He inherits the symbolism of classical poetry and draws lessons from the symbolism of modern western poetry, and pays attention to the creation of symbolic images. Many excellent works not only have the depth, breadth and suggestibility of symbolic images, but also stimulate readers' association and imagination, avoiding irrational nothingness and illogical obscurity in many poems of western symbolism.
The symbolic art of Ai Qing's poems emphasizes the symbolic expression of an image, and emphasizes that the whole symbol is a local symbol different from rhetoric. For example, Lu Xun's medicine added some wreaths to the grave of the deceased. As a pursuit of the symbol of local existence, these garlands are just a symbol of rhetorical significance. Ai Qing's poems, such as Quarrel Outside the Window, Fossil Fish, Cactus, Reed Flute, and Spring, have both the symbolic meaning in rhetoric and the symbolic meaning of the whole work, which is inseparable from the influence of symbolism, because symbolism strongly adjusts the symbolic meaning of the works.
The quarrel outside the window is a poem full of symbolic significance. The two time images "spring" and "winter" in the poem are not the objective concept of "time" to express the persistence of material movement. In essence, these two images are symbols of social phenomena: spring symbolizes democracy, science and freedom, while winter symbolizes autocracy, ignorance and backwardness. The quarrel between them is the opposition of two forces. Spring not only represents a social symbol of Ai Qing in the new period, but also symbolizes the thawing of literature. The image of reed flute implies Ai Qing's democratic thought brought back from the west, which is the soul of early Ai Qing's thought and also implies his artistic pursuit. The image of "mirror" in the Mirror is a daily mirror on the surface, but it is actually a sigh of truth, which can also represent Ai Qing's pursuit of an upright life. The symbolic images in Ai Qing's poems are of great significance in his series of images of light, land and waves, which I will discuss in other articles.
Perceive the image. This image is the image of open communication among the five senses. From the physiological mechanism, under certain conditions, the five senses of vision, hearing, taste and touch can communicate and transform with each other, thus producing synaesthesia.
Qian Zhongshu called it "synesthesia". Use the artistic skills of synaesthesia to manage images, making them vivid, wonderful and different. At the same time, synaesthesia image is not a single plane direct narrative image, but makes the five senses communicate constantly, which is rich and graceful. In western modernist poetry, the handling of synaesthesia images occupies a prominent position, and similarly, synaesthesia images in China's classical poems are also very colorful.
Ai Qing absorbed the works of synaesthesia art and created many wonderful synaesthesia images. In "Transparent Night": "In the village, the barking of dogs shook the sky", and the auditory image was transformed into a visual image. On the night of decadence, the barking of dogs makes people feel gloomy and horrible about this night scene; Moreover, the darker the night, the more the sparse star can feel trembling, and there will be a feeling of terror about this night scene. So these two feelings can interact and form a horrible atmosphere in the middle of the night. In The Old Man, "the color of hunger stained all his words." The Color of Hunger makes hunger concrete. The color dyed with language is the application of synaesthesia and the exchange of visual image and auditory image, which shows that every word of the old man has a lament and curse for hunger. Dawn: "After the whistle of the sailboat, the back of the tile left a new cold feeling." "Cold sense" is the sense of touch (or temperature sense), and "whistle" is the sense of hearing. The superposition of the two sensory images gives the viewer a novel aesthetic feeling.
Second, the combination of Ai Qing's poetic images
Earlier, we discussed Ai Qing's monosyllabic choice and its significance. However, any poet writes poems, and Ai Qing is no exception. In fact, images are combined into an organic, spatial and hierarchical picture according to the law of beauty, which makes it have the functions of coherence, contrast, contrast and suggestion, thus conveying the ideological and emotional information of poetry to readers. The classification of image types is only based on the poet's creation and adoption of a single image. In a poem, some single images, even if they meet the requirements of poetics, have only the beauty of single images, but not the beauty of compound images. The beauty of a single image cannot guarantee the overall artistic success of a poem, because scattered information has comprehensive value only after finishing and processing. The victory of a poem is, in the final analysis, the victory of the whole aesthetics. Therefore, Ai Qing attaches great importance to the combination of images. Our discussion on Ai Qing's image combination is actually a breakthrough in the coding of comprehensive beauty of information in Ai Qing's poetry creation.
Parallel combination. This combination refers to the arrangement and combination of several images in time or spatial order under the restriction of the theme; Or two different images are arranged in parallel; Or images composed of descriptions of things happening in different places at the same time are connected together, just like a balanced montage of movies. In Ge Yanxing by Gao Shi, there are such combinations as "The young woman is still heartbroken in Nancheng, and the soldiers in northern Xinjiang look at home empty" and "Half of the frontline soldiers were killed, and half of them are still alive, and there are beautiful girls singing and dancing in the camp". Parallel combination is widely used in Ai Qing's poems. In "A song so black/black as rosewood/so white/as cotton wool//so comfortable/but unable to stop crying/so pitiful/but happy" sung by a black girl, it is an equivalent and contrasting image combination. Black and white, rosewood and cotton wool form sharp image contrast, and the second half further strengthens the middle contrast with their own expressions, highlighting ethnic differences. The quarrel outside the window and Munich are also a contrasting combination of parallel images. Dongshan Kaye "No matter the waterfall in the forest/the reflection in the lake/the moonlit night in early spring, the dawn in Shan Ye/is saturated with the painter's love//What charming cherry blossoms/what luxurious bamboo forests/what simple birch trees/and the' green songs' flowing out of the dense forest ...//Even the ancient Austrian city peeps through the snow trees. "The poet's description of the Japanese painter's imagination comes from the parallel combination of images, which combines objects in different spaces in parallel, and each sentence is one place and one thing, indicating that the painter has received a high artistic effect." "Hope" is a parallel arrangement of images at different times. The last sentence, Zhang Xianzhi said: "A hope begins/a hope comes". Image juxtaposition. This combination is to juxtapose image words or phrases according to certain emotional logic or imaginative logic, and not to quote or quote less related words. Ma Zhiyuan's Jing Tian Sha Qiu Si is a classic of this combination. The juxtaposition of images is also an incoherent image. On the surface, it is a disjointed image. In fact, the bridge of emotional association is built on disjointed images, which makes the art of poetry full of elastic beauty. Ai Qing emphasized the prose beauty of poetry, strengthened the connection of sentences and avoided using disjointed images. However, it often appears in actual poetry creation, but there is no image combination in the form of "Jing Tian Sha Qiu Si" in the strict sense, but it is obviously influenced by classical poetry. In figure skating, there are: "Winter Flower/Cold Carnival//. ..... the knife keeps flying/hovering. Knife is as peaceful as an eagle/Swallow is as tired as flying low//Dream of mechanics/Mystery of geometry//Music without stopping symbols/Poetry without punctuation. In "On the Waves", there are: "Flowers on the mountains, flowers/poems/tears. "Transparent Night" includes: "Village,/Sleeping Street/Sleeping Room, rushing into the restaurant. //wine, lights, drunken faces/dissolute smiles. "In these poems, what is untrue is actually the image. The arrangement of objects omits many superficial connections, but it still comes out in one breath, which strongly stimulates the reader's imagination.
Images overlap. The characteristic of this combination is that two images with different time and space or different properties are skillfully superimposed together. Through the infiltration of images, or the ingenious superposition of images with different properties, new sub-images can be produced through the infiltration of images and images. This can actually be called a reproduced image. Helm thinks in The Poet on the Journey: "Two visual images form what can be called visual chords, and their combination implies a new image different from these two." Like two different montage shots. Pound's looming of these faces in the group: who is wet and flows, petals on a black branch is a combination of overlapping images. Ai Qing often uses this principle of "image chord" to construct his poems, and Paris is the best example. Due to the limitation of magazine space, we can't start a discussion.
Thirdly, the transformation of Ai Qing's poetic images.
The transformation of poetic images is under the action of some intermediary. With the transformation of scenes, or images turning at will, or meanings turning at will, images suddenly turn into other images, forming two or more vertically connected scenes. No matter what the intermediary is, the image conversion is mainly accomplished through the stream of consciousness, and the image conversion is realized with the stream of consciousness. Ai Qing's poems are full of twists and turns through the transformation of images. The change of scene from one level to another makes his poems reflect a wider life and more colorful. There are many ways of image transformation in Ai Qing's poems, such as the transformation between real image and virtual image through the intermediary of instantaneous illusion, so as to achieve the combination of reality and fiction. The first scene in wildfire consists of images (real images) of wildfire burning. Secondly, these three scenes are all illusions. It is the sleeping world after wildfire burning, inspired by fire, and the poet hopes: "wake up!" Make noise! /Let all eyes/hearts look at you in this dark night/Let all hearts/laugh/tremble with flames/listen, from which deep corner/comes the waterfall that praises you-Song Like. " Revisiting Vienna to realize scene transformation with "past" and "present". Vienna used to be a "lonely husband", but now it is like a happy "beer bubble"; It used to be the "shooting range" of the occupying forces, and now Mozart's Tangsulu is being staged at the National Opera House. There is also a vision as an intermediary to realize the transformation of the present and future images. Ode to Light recalls the footprints of our ancestors, expresses the "new Long March" that is beginning, and expects that we will encounter "more snowstorms and more glaciers" in climbing, expecting that every day in the future will be a "flywheel". One day, our ancient nation will "knock on the closed door and visit all your neighbors". Through the transformation of images, Ode to Light is full of momentum. On the surface, Ai Qing also realizes the image transformation through the intermediary of turning words or negative words. Taking turning words or negative words as the intermediary of transformation is essentially the intermediary of the poet's emotional turning. Munich begins by saying that Munich is "like a housewife in a Bavarian beer shop, healthy and charming, and everyone who sees her should fall in love with her." Then, with a twist of "but", it is said that "everyone cursed her" and "because she used to fool around with an arsonist", which is a symbol of disaster.