"To Oak" warmly and frankly sings the poet's personality ideal, standing side by side, and each oak tree and kapok are deeply opposed in an independent manner, which can be said to be a group of symbolic images with brand-new character in China's love poems. The establishment of this group of images not only denies the old sexual relationship based on personal attachment, but also transcends self-sacrifice and only pays attention to mutual love. It perfectly embodies the modern sex character full of humanistic spirit: sincere and noble mutual love should be based on the premise of not giving up their independent positions and personalities. This is a large-span transcendence of personality over predecessors in gender concept in the new period. This transcendence comes from women's long-term looking up and mutual persistence. Poetry sings and praises the ideal of love. Based on profound ideological content and powerful negation, the whole poem has 36 lines. Lines 1 to 13 borrow a series of natural objects for symbolic analogy, which profoundly denies the two views of love, namely, persistence ("Lingxiaohua") and unilateral dedication ("dangerous peak"), both of which are based on the depression, atrophy and sacrifice of one party. This is in deep and strong contrast with the modern ideal of love. 14 to 3 1 lines positively express the ideal view of love: the two sides of love are completely equal in personality, which not only maintains their independent personalities, but also supports each other and goes hand in hand. Lines 32 to 36 write that true love should love both personalities and their ideals-loyalty to the motherland.
The image of "oak tree" symbolizes the rigid beauty of men, while the kapok of "safflower" obviously embodies the female personality with new aesthetic temperament. She abandoned the delicate nature of old-fashioned women and was full of life breath, which was in line with the poet's ideal of women's independence and self-esteem.
In artistic expression, the poem adopts the lyrical way of inner monologue, which is convenient for expressing the poet's inner world frankly and openly. At the same time, the image is constructed as a whole symbol (the whole poem correspondingly symbolizes the independent personality and sincere love of both lovers with the whole image of oak and kapok), which makes philosophical thoughts and ideas germinate and poetic in a kind of intimate and sensible image, so this poem with rational temperament makes people feel that there is no preaching.
Poetry adopts the overall symbol because the poet's conception intention does not necessarily limit the theme of the work to the vision of love. The moral ideals of mutual sympathy, mutual understanding, mutual trust, equality and independence among people can also be reasonably deduced from the image composition of oak and kapok.