Let's take a look at his Fish Fossils. The whole poem is as follows:
(A fish or a woman says)
I want the shape of your arm,
I tend to dissolve in the waterline.
You really love me like a mirror.
You and I are far apart, but we have fish fossils.
We generally think that Bian's poems are the transformation from "main emotion" to "main wisdom", and he and Fei Ming are the best "new wisdom poems" in the 1930s. But Bian said in the preface of Chronicle of Insect Carving: "People are not wooden stones, but people who write poems can be said to be emotional animals." . I write poetry. I always write lyrics. I always tend to restrain myself when I can't control myself, as if I meant to be a' cold-blooded animal'. "It seems that the author is more willing to regard his poem as a lyric poem. As for the intellectualization tendency of his poems, it can be regarded as a rebellion against the tragic generalization caused by the excessive lyricism of some poets in the past. It can be said that he is another kind of lyricism, a restrained lyricism, just like roland barthes's "zero-degree writing". At first glance, the language of the work seems to have no objective words with the author's feelings, but after these words are combined, it is obvious that without the author's feelings, it is impossible to express the author's position, ideas and the expression of these ideas.
I wonder if Bian's poems have a prototype of his own life. Bian 1933 graduated from the English Department of Peking University in the summer, and met him in the Chinese Department of Peking University in the same summer. Bian has been here, relatives. Unfortunately, Zhang Chonghe later went to the United States with her American husband, and Bian also got married on 1955 1 October1. In Bian's poems, "you", "I" and "he" are all relative, giving people a broader imagination. Out of context, some people regard "you on the bridge" as a man and "the man upstairs" as a woman. I'd rather watch it. In Fossil Fish, the author indicated from the beginning that it was a fish or a woman, and I prefer to regard "I" as a man, which goes against the author's creative intention, but can we say that the author's explanation is just to cover himself up?
The first sentence in the poem is "my" desire for love. Concrete love, turning into a "hug", is a warm and romantic imagination. The second sentence says that I am often "a thread dissolved in water". I think this poem is more suitable for understanding that as a man, "I" often falls in love with "you" as gentle as water. Next, "I" don't know if you love me as much as I love you. This is both a confession and an inquiry. "I" was full of hope in a burst of doubt. The last sentence, "You and I are far away", you and I have no hope, you are you, I am me, and the future is irrelevant. But being a "fish fossil" means that "fish is not the original fish and stone is not the original stone", and you and I have changed each other. Fish fossils are not the best combination of fish and stones. When fish are imprisoned in stones, they are completely different from each other and do not blend. From the choice of images, does the contrast between "fish" and "stone" contain a kind of affection and indifference? From this perspective, this poem seems to be a poem of resentment, a poem of resentment against "men". Mr. Bian is a man, but he has a woman's heart.
Although I understand the two poems as love poems, they have different emphases on Europeanization and modernization. If Broken Chapters is more inspired by classical poetry, then Fish Fossil absorbs more foreign modern poetry resources. Shi Zhecun divides the pursuit of modernity in poetry into two aspects: the modern (feeling) emotion of modern life and the modern poetic line determined by modern words (language). Under these "modern lines of poetry", Bian successfully conveyed "modern feelings": the coldness of the world, the inequality of giving and receiving, the instability of love, "things are different" and helplessness after failure. ...
People have always agreed that poetry is a text that should not be over-interpreted, but people have been trying to interpret poetry and try to reach the poet's inner world. The poet's inner world is rich, unique and enlightening. Don't over-interpret poetry, it is difficult to grasp its dimension. But I think, when people are too involved in the "spiritual" world of poetry, they should think about the problem emotionally, which may lead to a new path to the poet's spiritual world.