Architectural beauty refers to "symmetry of section and uniformity of sentences", which is vividly expressed as a square poem in the shape of "dried bean curd". Although it is not necessary to mechanically limit the number of words per line to be uniform, in order to have a sense of neatness, the differences between lines should not be too big. "Dead Water" is divided into five paragraphs, each with four lines and nine words, which expresses the ups and downs of the poet in a neat way.
The beauty of painting lies in the use of "words" and a distinct sense of color, paying attention to the visual image and intuition of poetry. Words expressing colors such as green, white and blue, and colorful objects such as jade, peach blossom, Rocky and Xia Yun in stagnant water make this poem colorful and dazzling, thus achieving color contrast and connecting poetry and painting.
Musical beauty is the core of the theory of metrical poetry, which mainly refers to the neatness and harmony of syllables and rhymes. For this reason, Wen Yiduo put forward the theory of "musical scale", and the most fundamental principle of metrical rules is the neat rules of syllable units (namely "musical scale", also known as "pause", "step" and "sound group") in a poem, and each poem should have a relatively symmetrical "musical scale", which will eventually produce a harmonious and unified auditory effect. Wen Yiduo said that "Dead Water" was the most satisfactory syllable in his first experiment. The whole poem consists of five sections and twenty lines, each with nine words (that is, nine syllables). These nine syllables are all composed of three "two-character feet" and one "three-character feet", and all of them end with two-syllable words. The whole poem keeps neat and tidy in the changes, with uneven levels and cadence. The ending of the two sentences rhymes with "falling" and "soup", "flower" and "chardonnay", "foam" and "broken", which is catchy, full of rhythm and sense of rhythm, and also has a sense of musical beauty, so it can be called a model of metrical poetry.