Secondly, the seemingly handy image is actually a painstakingly constructed image. The beauty of Xu Zhimo's poems lies in images. The composition of poetic images has some very personalized methods and effects. These images are familiar to people in nature, in life and in the poems of English romantic poets, but they have unique and novel characteristics after being influenced by the feelings of poet Xu Zhimo. There are usually three ways to construct images in Xu Zhimo's poems: one is to give emotional color to objective images through emotionalization, making them from plain to strange. It not only makes readers feel the things and scenes that belong to their own experience, but also makes readers feel that they contain brand-new interests. For example, in Huang Peng, the descriptions of oriole "breaking through the dense and turning into colorful clouds" and "like spring, like flame, like enthusiasm" are novel here, because there is a feeling of a poet. Another example is Farewell to Cambridge: "The golden willow by the river is the bride in the sunset." The transition from Golden Willow to Bride is the result of the poet's emotional displacement. Secondly, metaphor plays an important role in the formation of novel images. For example, in Nora, Shi An "is the gentleness of bowing his head,/like the shyness of an invincible water lotus in the cool breeze". A wonderful metaphor describes the charming expression of Miss Japan when she bid farewell to her friends, and the tenderness of oriental style remains in the reader's memory. Another example is She is Sleeping, in which J's poetic metaphor is used to describe her sleeping state-"a white lotus under the starlight", "a wisp of smoke curling in the incense burner" and "noisy strings are suppressed by spring". Metaphor is used to construct images, which helps to highlight some characteristics of images. It can not only expand the meaning through analogy, but also enhance the image of poetry. Second, grasp the feelings and impressions instantly and freeze them as images. For example, in "Gray Life": "I grabbed the northwest wind and asked him for the color of the fallen leaves." Capturing that unique moment, we can, as the English poet Blake said, "a world in a grain of sand and a paradise in a flower". /infinity in the palm of your hand,/and eternity in an instant. "Xu Zhimo captured these moments with a poetic pen, which produced a unique interest and a novel interest for readers.
Thirdly, the beauty of Xu Zhimo's poetry lies in self-discipline. Xu Zhimo is a representative poet of Crescent Society, and Xu Zhimo agrees with the opinions of Crescent Society poets on the metrical aspects of new poetry. In Xu Zhimo's poems, the form, artistic conception and rhetoric are all beautiful. It is particularly noteworthy that Xu Zhimo's pursuit of musical beauty is almost obsessive. From the perspective of syllables, the syllables and melodies of Xu Zhimo's poems are very natural and harmonious. He once said: "The beauty of poetry lies not in its meaning, but in its elusive syllables." His syllables seem to be assisted by the gods, but in fact, this natural and harmonious effect is also a deliberate effect. One is that syllables are consistent with the changes of thoughts and feelings expressed in poems, and the other is that they are supported by effective techniques. In his poems, a lot of overlapping words and sentences are used to create a desired effect. For example, the "gentleness" and "quietness" in the first and last paragraphs of A Farewell to Cambridge create a special sense of rhythm. For another example, the rhythm and melody of Nora in Shi 'an are very gentle and soothing, and the last sentence ends with "Nora in Shi 'an" in Japanese instead of the crisp and decisive "goodbye" in Chinese. Gentle and lingering, full of oriental female charm. From these meticulous treatments, it is not difficult for readers to appreciate the painstaking tone of the poet Xu Zhimo. Xu Zhimo is also very particular about rhyming. Because the new verse should be close to spoken language, syllables can easily become rambling, and the cohesion and penetration of rhyme feet become particularly important. Xu Zhimo's poems sometimes have one rhyme, and sometimes a poem has several rhymes at the same time, which does not form a preference for one rhyme. This shows that Xu Zhimo's poems are not exactly like Hu Shi's initiative in the rhyme of free verse-new poems "compete in nature and distinguish naturally in tone"-so the rhyme of Xu Zhimo's poems is not only the pursuit of a "language rhythm", but also a "language rhythm". The rhythm of pronunciation can be said to be the rhythm of prose, but the rhythm of form belongs to the strict rhythm of poetry.