Appreciation of Face to Face by Stranstrom.

Face-to-face, face-to-face, face-to-face, a brief analysis of Trondstrom's poetic language The beauty of Trondstrom's poetic language is as beautiful as Wittgenstein's pure logical analysis philosophy, which fundamentally dispels philosophy. Symbolic poetry is over, no more scenery, no more flowers and beautiful trees whispering in the wind. Poetry began to get rid of the traditional scene description of "talented people and beautiful women" and the "grand lyricism" floating on the surface of personal feelings, and turned into a record of nuanced instant feelings. At the same time, like the blank brushwork in China's landscape paintings, "less is more" has become an important aesthetic trend of symbolism in the later period. As a far-reaching master of symbolism and surrealism, the poet Transtrom's poetic language embodies a kind of "urgent" beauty. In Trondstrom's poems, the conciseness of language and images does not mean the reduction of context tolerance. On the contrary, because of the "squeezing" of language, poetry itself seems to have given birth to a pair of wings and gained a broad imagination space. Taking Face to Face as an example, this paper discusses the beauty of "pressure" in Trondstrom's poetic language from the aspects of imagination filling and meaning promotion. Face to face, face to face, face to face, face to face, Transtrom (translated by Li) is still alive in February. Birds are too lazy to fly, but the soul grinds the scenery, just like a ship rubbing against a ferry at a dock. This tree has its back to here. The line of sight measures the depth of snow. Footprints on frozen soil will age. The language buzzed under the tarpaulin. One day, something ran to the window. I looked up when my work was interrupted. Colors are burning. Everything has changed. The earth and I jumped at each other. The title is the eye of the article. As an extremely concise artistic style, the title of a poem makes a great contribution to the expressive force of the poem itself. The title of Langstrom's poems is concise and lively-face to face. This topic gives people endless mysterious imagination: two faces, I don't know each other's identity, I don't know why they are opposite, are these two faces facing each other proudly or close to each other? It's all unknown What we can be sure of is that there are two objects in the poem, which are independent of each other, perhaps known and unknown, perhaps self and the world, perhaps solid and empty. From the beginning of the title, the "pressure" of Langstrom's poetic language has quietly begun. In the first verse of this poem, the poet begins to spread his experience and journey. The first scene is "standing still and alive", and even the natural elf-bird is "too lazy to fly": all external scenes are static and solidified. But after careful tasting, you will find that under the appearance of cohesion, the outside world is still quietly "breathing". The "living" and the lazy bird standing quietly are also changing quietly when they meet the word "February": we seem to hear the deep breathing of the "living", and we seem to see the birds flapping their wings! The inner world in the first section is turbulent, rubbing and shaking like atoms and electrons in the nucleus. "Soul/grinding landscape", this sentence finally reveals two main images, and implies the identity of two face-to-face "faces". The striking image of "grinding" the soul of the landscape is "like a ship/rubbing against the ferry where it stops". Two ingenious half lines suggest the identity and relationship between two faces. What is the beauty of "pressing" and the exquisite art of poetic architecture? In the second section, the poet shows us a set of external intentions. In the second season, the flavor of "spring" is stronger, and the scenery changes brought by seasonal changes give the poet a pleasant imagination. In the second quarter, the tree is not only "standing", but also "with its back to here". We can even imagine that the facial expression of this tree is solemn, because it is "measuring the depth of snow with the line of sight". Next, the old footprints, humming language, and the specific scenes of "frozen soil" and "tarpaulin" in late winter greatly enhanced this overall sense of activity. The savings of vitality will eventually explode, so "one day" and "something will come to the window." Some things, the poet is vague or unverifiable. However, a strong sense of certainty roared out: "When my work was interrupted, I looked up." "I" appeared, and this is the first "face". The answer is ready, and the world is ready to give the poet in meditation a colorful epiphany! Next, the poem reached its climax: "Colors are burning. Everything has turned around. " As the world became quiet and gloomy, it became cautious and opposed me with "color" elements in a "burning" posture. "Everything has turned around", we seem to hear the same loud noise as HarmonyOS's system and the poet's creation. The earth-the second face-came at me. Two faces at this moment * * * now, echo each other. At this moment, the epiphany of "existence" and the existence of "Tao", which is difficult to grasp but can be felt in emptiness, are very obvious. In Face to Face, the poet Trondstrom accurately described the obvious epiphany of "existence" with the language style of "urgency". Here, the joy of "the unity of heart and mind" illuminates the meaning of existence. At the moment when man and existence suddenly met, the poet recorded the double epiphany of existence and self in words, and played a broad significance with limited notes.