The first is the tendency of prose culture. Fei Ming's poems are often caused by letter and pen, which are easy to write and should be done. At the same time, Fei Ming uses economic vocabulary. Fei Ming said: "Compared with spitting, the new poems I wrote in the past are as precious as gold!" (Fei Ming: talking about new poetry) Fei Ming's application of classical Chinese words to the sentences of new poetry and flexible use of allusions is a great attempt and exploration. For example, "I learn to pick a flower high and gamble lightly", and directly introduce Wu Meicun's poems. How natural grafting is, as easy as blowing off dust.
The second is to write poems with Zen. From 65438 to 0922, Fei Ming came to Beijing with great longing, but soon faced with internal disputes and divisions in the new literature camp, and Fei Ming fell into extreme depression. Then in 1927, Zhang led the army into Beijing, and Beijing literati went south in succession. The northern literary world is particularly lonely, and Fei Ming can't "face the bleak life". His psychology changed from depression to isolation, his personality became more introverted, and his way of thinking focused on introspection. In the ever-changing torrent of the times, Fei Ming couldn't find a clear direction to guide himself, so he hid in the western hills and realized the Tao. Both Wang Zengqi and Bian once created an image of "seclusion in the mountains" based on Fei Ming at this time. Fei Ming's ideological and artistic changes at this time were so obvious in his novels Bridge and Biography of Mr. Xu You that his friend Professor Wen suspected that he was influenced by Woolf and Eliot in England. However, this change not only appeared in novels, but also appeared in poems of this period. At this point, Fei Ming's poetic style has changed greatly, and the content is quite expensive for readers to guess. Fei Ming wrote poems with Zen, and readers should read poems with Zen. Su Shi said, "Let's borrow night snack's poems for the time being, and then go to meditation when there is a good place." Yan Yu also said in Cang Shi Lang Dialect: "Generally speaking, Zen is only in wonderful enlightenment, and poetry is also in wonderful enlightenment." Many of Fei Ming's poems seem to be semi-illogical, but in fact, just like Li's Wen, his poems are not completely literal on the surface, but the realm in his bones is gaudy, such as "the sound of the air, the color of the phase, the moon in the water, the image in the mirror", such as "the moon in the sea, the day of the green fields, the gas of high curative value" and "the mountains overlap" Huang () pointed out in About Fei Ming 1947: "I am interested in Fei Ming's achievements in China's new poems. He opened up a new road ... this is the way China's new poems approach Zen. " Most of Fei Ming's poems were written in a short period of time, "very easy to get", and some of them were written as games, which should not be taken seriously or let go easily, because "there is really deep power in them, and its power can be said to be thunderous and elegant." For example, "I miss the day and night/I want to draw a picture/this picture has not been written for a long time/so bees are putting people to sleep/peony bars have nothing to do with people's dreams/idle flowers are in the leaves/scarlet is light red." Fei Ming's poems, like those of the late Tang Dynasty, all have the spirit of "forbearance (loneliness)" and "detachment from beauty" (Fei Ming: A Chapter about myself).
The third is the interweaving of beauty and astringency. Fei Ming's poetic beauty is natural, and his poetic sentiment is classical, which often makes readers have a kind of beauty that is beyond their minds and seems to be obtained. This is the obscure expression of Fei Ming's poems. Fei Ming's poetry combines Confucianism, Buddhism and Taoism, and has a modernist style, which makes Fei Ming's poetry a unique existence. Fei Ming once took "Picking Flowers" as an example, saying that it was "an example that new poetry can accommodate several cultures" ("Fei Ming: Preface to Small Garden Collection"). Some of Fei Ming's poems are really hard to understand, such as "Willow trees in the street at dusk/mirrors in the air/electric lights in the opposite shop/lonely dust/what will the evening breeze say to me/are you talking about stars in the distant sky?" Is the poet really going to talk nonsense? Is it a poem? After the victory of the Anti-Japanese War, Fei Ming experienced great changes in his thoughts again. Although there are only seven small poems in this period, they should not be underestimated. After nine years of rebellion and refuge, Fei Ming began to sympathize with "human disaster", hate "human cruelty", call for peace, curse war and pursue truth. It is hard for us to think that the poems such as Dusk on April 28th, Cockcrow and Mankind are consistent in style and thought with Fei Ming's modernist poems in 1930s. At least, the ideological orientation and poetic pursuit of these short poems are very different from before, easier to understand and closer to realism. We might as well think that this is the poet's new poetic pursuit after the war, just like the poems endowed after the An Shi Rebellion, and at the same time like Feng Zhi.