For a long time, the name Bian exudes a quiet, wise, natural and unrestrained academic spirit and literary popularity, as if forever young, always elegant and always detached. He was shaped for poetry, as well as for the East and the West. Read his poems and listen to the full, solid and light voice. How wonderful and beautiful it is. After reading his poems and articles, it seems that he is a genius from ancient times, bathed in the rain and dew of European culture, and came to modern China, where he plucked the strings of the language and meter of vernacular poetry with his gifted hands and issued a familiar and extraordinary rhyme. Who let him accept the test of suffering and great times, let him experience the baptism of blood and fire of national peril, let him listen to the voice of the nation and the voice of poetry, and analyze the shortcomings and outlet of modern poetry without complicated words? Who endowed him with the dual classical culture of the West and the East, and soberly examined and judged the current poetic form like a prophet? I think, sometimes, when God comes to earth, in the collision and integration of heaven and earth, he will show an ordinary smile and outstanding flaws-he is a classical modern and also the East and the West; He penetrated the mystery of ancient and modern Chinese and foreign poetry and cast a full and reasonable fruit of poetry. What is left to China and the world is only the concise and meaningful "out of chapter"? You stand on the bridge and watch the scenery/the people watching the scenery are watching you upstairs/the bright moon decorates your windows/you decorate other people's dreams. Many poetry critics have been assiduously interpreting these four lines, which have remained in the database of modern poetry research in China, and are still lacking. As soon as I read these four lines, I will think of Feng Zikai's cartoons-only Feng Zikai's cartoons are concise, meaningful, clear and profound, depicting a kind of psychological beauty-can vividly express the true meaning taken out of context. "Out of chapter" may be a sign that Bian gets inspiration from the generation in an instant, and it is also a casual expression of a subtle and cold poetic style. This is not the reappearance of Li Shangyin's "affectionate tenderness" and "rich implication", nor is it the repetition of Jiang Baishi's aesthetic ideal of "empty and lofty". Under the guidance of Hu Shi, Liu Dabai and others, he tried to interpret lyrics and songs in vernacular Chinese, and realized the classical essence of modern Chinese and the eastward movement of western poetry techniques. The reason why Broken Chapters is a swan song is precisely because it most prominently embodies Bian's poetic style. Looking from a distance, a piece of clear water; Looking closely, there is no bottomless pool, which is different from the shallowness of early vernacular poems. Like the modern reappearance of Tang and Song poetry, it exudes oriental and modern flavor. It also reminds people whether there are similar ingenious ideas in western poetry, or whether the poet's feeling of western poetry flashes and blends? Broken chapter is the most beautiful and concentrated embodiment of the characteristics of Bian's poems. It is a kind of almost beautiful chanting with a blend of scenes, a manifestation and revelation of pure mood, and a symbol of Bian's talent. Famous works such as Inch Eight, Treasure Box and Fish Fossil are all derived and deduced from broken chapters, but they are not as clear, refined and clear as broken chapters, and have the charm of "painting in poetry" and "poetry in painting" as broken chapters, and there is no display like broken chapters. Perhaps an era of poetry will only leave these four immortal poems in the history of poetry-looking back at the history of poetry, these four poems will always be so fresh, wonderful and simple. I even imagine that what Bian has done for new poetry and China culture is not a masterpiece, but a delicate and wise chapter. Bian's poetry creation in War of Resistance against Japanese Aggression and during the War of Liberation is a severe test from the palace of poetry to war and soil. Perhaps the connection between Chinese and western cultures is easier than the combination of pure poetry, political poetry and anti-Japanese war poetry. Simple words need to be simpler, and hazy poetic landscape needs to be transformed into transparent poetic landscape. "The writing is plain and clear, although there are clever metaphors and humorous brushstrokes, it is far from meaningful and remote" (Maggie Cheung left another style and connotation during this period-Bian's pure poems could not be transformed into battle poems, struggle poems and folk poems so hastily and quickly, and the skills and artistic conception of so many poems could not build a house on the tragic land of national peril. China didn't understand at that time, and he didn't need pure poetry. Bian's name can't be the same as Tian, Tian and Ai Qing. Bian's translation of Shakespeare's plays and research papers, and the research papers of Brecht's plays, Balzac and Tolstoy's novels are also taken out of context from the perspective of literary history, but they are solid, profound and clear, without any noise of grandstanding and self-promotion. China needs Bian, a high-level scholar and poet who really studies Chinese and Western cultures and seriously studies and thinks. He needs to sprout from the poetry of the new era, not the ordinary system and complete works.