What about Yongming Zhai's poems?

Let's look at the date-"20065438+0.5.19". At this time, Yongming Zhai, if we take his poems in the left and right periods as reference, has obviously passed the transition period of style, and the technique of "transcending the concrete with the concrete" has been used freely. I understand the so-called Swan Lake as the author's incomplete fiction of stage art. If poetry itself is regarded as a stage to show the soul track, then poetry is a fictional stage on the stage, thus achieving the effect of blurring the former (that is, the poetic context), but this technique has not run through. Everything happened on the stage. In the first and second paragraphs, the key words and basic creative attitude of the whole poem are implied in the key descriptions of the layout and props such as "ladder", "tree nest" and "milk jar". "Men marching in procession with milk cans on their backs" leads to the subject of the poem, namely men, in a rather absurd and playful way. "Swan also built a tree nest." Is there a swan show besides men? No, this is a group of swans with four limbs. (In these two paragraphs) Yongming Zhai completely replaced "swan" with "man", which shows that there is a kind of * * * nature, or appearance, or spirit likeness, or the author's attitude towards both. I prefer the latter, that is, the man branded the swan symbol for the author-equally beautiful and full of temptation, the same. "War attitude" and "gentle scene" suggest the author's foothold, namely struggle and love. Coupled with calm language, it creates a more absurd expressive force and reveals the author's attitude: the struggle between people is as futile as the historical cycle; The dominant position of men in love puzzled (or disgusted) the author. The third paragraph of the poem is particularly abrupt. That is to say, as mentioned at the beginning, the re-emphasized poetic context and the weakened stage effect are the reasons for this abrupt situation. As we all know, no matter what form of stage play is, it is bound to be limited by the scene and time background, because it is a kind of stage art (visual art), and space and time can only depict the moments directly seen by the audience, but can not directly show the jumping and continuity of events in space. The words "like", "everywhere" and "all over the world" in Men Like to Hide Guns Everywhere are words that span time and space (just in line with the category of language art, especially poetry, which is good at expression), leading to the return of poetic context. So I understand it as the author's reflection or revelation of the creative theme from the perspective of screenwriter, which is independent of other paragraphs, but it is also a failure. In content, it continues the banter tone, satirizes and despises male chauvinism. Men are the backbone of secret politics, the hidden danger of politics, the human barrier of modern society and the pornographic culture. Men wear masks and bulletproof vests outside, but their real primitive desires often die and suffocate in their arms, so they can only roll their eyes immediately and get the pleasure of "extorting money from women". Such indulgence and possession of women's pleasure can only be realized in the cracks of complex social factors, so it is said that "from chest to crotch/squashed their fantasies." After reading "Teenagers are about to take off", I feel that the climax of the story has already begun. It is not difficult to find that in the fourth and fifth paragraphs, the boundary between men and swans was finally broken: men soar and swans have eight abdominal muscles. Although it is a stage language, we should pay attention to conciseness, but in fact, "poetry insensitivity" is still regarded as a natural means of poets and unconsciously rubbed in. "Eight muscles" is as hot as "eight lips", so the metaphor of temptation is rare, which shows Yongming Zhai's profound poetic talent. Imagine how much more attractive it would be if it were moved to an oil painting board no less than any famous abstract painting-and it would come from a helpless woman. "Cowardly" is like ridicule, which continues irony, and it is also a proof of Yongming Zhai's style turn-"colloquial written language". Men win the favor of women with the absolute temptation of the opposite sex. On the surface, they take a step back to admit women's weakness, but in fact they take a step forward and strengthen their satire on male subjects. "Wearing only feathers, riding on the back of the moon, and handing over the body to another guy with wings" is a rather obscure description of the sex scene: "The moon" is a woman, and "handing over the body" drags the vulgar coitus behavior to a higher aesthetic level, which is an external imitation (men perform on the stage, swans float in the heart). At the same time, the stage art that dares to appear pornographic scenes is absolutely avant-garde, and Yongming Zhai, the "screenwriter", has been immersed in his own scenes like nobody's business. The content is not much different from before, so I think the fourth and fifth paragraphs are redundant but effective, and they are "going their own way" and "going astray" After a long period of writing experience, Yongming Zhai became familiar with the so-called poetic techniques. The last paragraph completely conquered me, once again proving that a good ending plays a decisive role in poetry, just like the stern building rising at the stern, spacious and immediate. "A man with eight muscles, sweat, smoke and stench seeped from his skin", and the author condescended from the position of screenwriter to the position of audience. However, this change is not abrupt, but extremely smooth, which is a huge treasure. In my opinion, one depends on the effect of spoken English. "Smell" already includes "sweat smell" and "smoke smell". At first glance, it looks like a wart, but in spoken English, such "wrong" expressions are often normal and common. Secondly, depending on the sense of rhythm, the method of restraining first and then promoting is in line with the traditional aesthetic concept of readers, and it is wonderful to "play like a stream". The so-called "style is personality", from this poem (and her consistent poetic style), we can see Yongming Zhai's quality of daring to break through from imprisonment and her persistence in the position of women. At the same time, it also provides a literary idea of integrating different arts, which achieves the effect of another art (stage) with the appearance of one art form (poetry) and pursues seamless melting (but it is not successful at this point). In fact, we can find more from the incision of this poem. "Novelty" is one of the key points of new poetry. Conformity and "set-board reaction" will quietly kill the enthusiasm of both the author and the reader. After all, the value of a poem lies not only in its direct expression or metaphor, but also in its possibility of opening to readers and poets. In a word, Zhao Yongming created this new poem with huge content and hard to distinguish between true and false by playing two roles-the original screenwriter Yongming Zhai and the sincere audience Yongming Zhai.