Syntactically, this poem draws lessons from the ring sentence in Goya by the Soviet poet Woznetsky: "I am Goya! ..... I am in pain. I am the voice of war. ..... I'm hungry! ... I am ... the throat of a hanged woman. ..... I am Goya. " Voznesenski wrote about my relationship with the war and used cyclic sentences to strengthen my sadness and anger at the war. Shu Ting's writing about my relationship with my motherland also uses this sentence pattern to increase the depth of pain and love, but it is also a creative development. Circumferential sentences often appear in works that express strong feelings, and are best used to render sad and painful feelings.
Repetition is a common artistic technique in poetry creation, and circular sentence pattern is a rhetorical method of repeating the same type of sentence or word, that is, connecting several parts of a very complete language unit and arranging them in a circle to form a harmonious whole in meaning and tone. Can be divided into two points, three points, four points and many points. This poem uses many elements.
Poetry reached its climax from the beginning, which is Shu Ting's consistent technique. The first two clauses of the first section are balanced sentences, which contain descriptions of sounds and colors. Three or four sentences are shortened and not depicted; The five sentences are long, the lines are short and tight, and the intensity exceeds the previous four sentences, so the subject (motherland) appears.
In the second quarter, direct dialogue is started without adjectives. Three or four sentences summarize the front, and then the theme appears.
The third quarter is another change. The quintile is divided into seven lines, and the rhythm is staggered. If the first paragraph and the second paragraph are written in the past tense ("flowers that have not landed for thousands of years between flying sleeves"), use the present tense; This third section is about the future (The Newly Painted White Starting Line), and it also uses the present tense, which is more concrete and realistic, connecting the preceding with the following, and the pain rises to hope, so the subject appears again.
The first two lines in the fourth quarter are one billionth small and 9.6 million square meters large. The unity of the big and the small is the enhancement of contrast, which means that I am a member of the motherland, but my chest contains the whole motherland. Next, scarred breasts nurtured me, taken from my flesh and blood, which is another contrast, highlighting my inseparable connection with the motherland; Even confusion, deep thinking and boiling are the opposites of richness, glory and freedom, so that we can see the endless joys and sorrows. If the first three sections are about my relationship with the motherland syntactically, the fourth section is about my relationship with the motherland in turn, which is the theme. Syntactic ambiguity is a manifestation of extreme excitement, which ends in the double-calling sentence of the subject (the subject at the end of the first three paragraphs is a single-calling sentence) and reaches a climax.
There are only thirty-four lines in the whole poem, but four semicolons are used. The clauses in these semicolons have a short duration, which reflects the changes of rhythm and melody. This poem is political, but it is not discussed, but only described, which is also a feature. All the symbols and metaphors in the poem are simple and beautiful, and every word is closely related to the scenery and images described. The poet not only observes with his own national elements, but also writes the spiritual essence and typical tone of people's inner life and outer life with national language means and expressions that people can understand. What she feels and says is exactly what her compatriots feel and say.
(Selected from the Dictionary of Appreciation of New Poetry, Shanghai Dictionary Publishing House, 199 1 edition)