The greatest artistic achievement of Peacock Flying Southeast is to create a distinctive character image through the dialogue of individual characters. The whole poem is "* * * 1,785 words, the first long poem in ancient and modern times. Rainy ideas, repeated, in Chinese miscellaneous about a dozen people, and each Xiao Qisheng, not chemical pen "("Ancient Poetry Source "Volume 4, notes). Throughout the conversation, we can see Liu Lanzhi's different attitudes and tone towards Zhong Qing, Jiao Mu, sister-in-law, brother and mother. It is in this difference that she can feel her industrious, kind, oppressed and rebellious character. Similarly, in Jiao Zhongqing's words on various occasions, we can also feel his honest and weak but developing character, loyal to love, discerning right from wrong but being forced by his mother. In the poem, before Lan Zhi and Zhong Qing died, Lan Zhi pretended to agree to remarry. After Zhong Qing saw Lan Zhi, he went home to say goodbye to his mother. Their words at this moment are very suitable for their respective identities and situations. Chen Ruoming's Selected Ancient Poems of Caijitang once made such a detailed analysis: "Lan Zhi is not a white mother, but a white mother, a woman is a mother, and a son is a mother. It feels different. A woman who follows her husband is also afraid that her mother will be on guard. Her mother has a brother, but she can die. Son or wife, which is more important than mother? And what is mother's death, can there be no white? With the dead, love also. Don't let each other down. Women pay with death, so don't they die with peace of mind? When you were together, the mother regretted it and welcomed her daughter, but it is still possible that both of them are not dead. However, Tara refuses to welcome a woman. She can't die. Therefore, there is a difference in the words of white mother. Today, the child has made it clear in four words. Today, cold is like a rock, unknown so. I'm also afraid that my mother will think it's against me. If the official is a white mother and the mother is unguarded, then this woman will be gone for a long time. He won't die tomorrow, but what is it to die alone today? However, it is not necessary to say that this resentment is true. So, I answered with the boss's daughter to comfort her. However, government officials are all white mothers, and it is not said that women will change their fitness. They refuse to change if they don't say that women want to die, and welcome women. If they show true feelings, they will stop me from dying. " Imagine that if Lan Zhi said she would die, this weak woman would be bound by violence and forced to get married. The analysis of the above quotations shows that the situation in Chongqing is naturally different from that in Lange. Another example is: "I have been angry for a long time. How can you be free?" And "how can a boy help a woman if he is fearless?" You can see the arrogance of Jiao Mu here. "Why don't you plan to! Marry a government official first, then a husband. Is Thailand as glorious as heaven and earth? Don't marry Yi Langti, want He Yun? " This shows Mr. Liu's snobbery. Even the short conversations of matchmakers, government officials and other minor figures are in line with their identity and characteristics. In poetry, the concise description of characters' behavior is helpful to the vividness of images; Exquisite lyrical interludes enhance the charm of the works. "When the rooster crows outside, the bride wears strict makeup. I embroider a skirt, and everything is four or five ways ",writing the ambivalence when leaving Jiao's family. She wants to get up at dawn, which shows her determination not to live in Jiao's house. Strict makeup is her protest and demonstration of focusing on her mother. When dressing up, everything is mixed, showing her delicate psychology of loving Jiao Zhongqing and reluctant to leave. "When I said goodbye to my sister-in-law, tears rolled down her eyes." Sister-in-law is not easy to get along with, and Lan Zhi has a harmonious relationship with her sister-in-law, which shows that she understands etiquette and is easy to get along with. This is in contrast to the burnt wood. Besides, Lan Zhi's stubbornness can also be seen when she gave up her mother's tears and her sister-in-law's tears. The same is true of Jiao Zhongqing's image portrayal. He sent Lan Zhi to the door of the road, "dismounted and got on the bus, bowed their heads and whispered", showing a true feeling. It is said that getting married, "it doesn't take two or three miles to eliminate worries", and the poem uses "horse sorrow" to set off his intense inner pain. Before he died, he sighed in the empty room and moved to the house. He was still taking care of his mother. Here, he becomes more and more honest and kind. There are some similar action descriptions in the whole poem. Although there is not much pen and ink, it is very essence. When Lan Zhi died, he did not hesitate to "take off his skirt and silk shoes and lift himself to the pool"; When Zhong Qing died, he took care of his mother, "wandering under the courtyard tree and hanging the southeast branches." These different action details are suitable for their respective personalities and situations. The same mother, Jiao Mu, became furious after hitting the bed. When Liu Mu saw Lan Zhi coming home, she was both surprised and gentle, which is very vivid for describing her character. Lyric interlude is less than action description, but it is also a successful pen. When Lan Zhi and Zhong Qing broke up for the first time, the author couldn't help sighing, adding a tragic atmosphere. "Life is death, hate is that", which makes the finishing point and arouses people's concern and sympathy for what happened to Liu. Even at the end of the poem, there is a strong lyric meaning, full of the author's sympathy and expectation. These natural and seamless lyric interludes play a wonderful role in shaping the characters and increase the emotional color of the whole poem. It is particularly noteworthy that the use of metaphor and romance in this poem has played a very important role in shaping the image. The author's feelings and ideological tendencies are clearly expressed through this artistic method. At the beginning of the poem, "Peacock flies southeast, drifting for five miles" is a technique of "Xing", which is used to arouse harmonious love and decorate the atmosphere of the whole article. In the last paragraph, in the cemetery where Liu Hejiao was buried together, the branches and leaves of pine, cypress and phoenix trees were hidden, and Yuanyang sang all night. This not only symbolizes the immortality of Jiao Liu and his wife, but also symbolizes their eternal grief and accusation. From the realistic double-burial portrait to the portrait of a pine, cypress and mandarin duck symbolizing eternal love and happiness, it shows the people's belief that freedom and happiness will inevitably come in the future. This is the romantic development of Liu Jiao's image, shining with incomparable ideal brilliance, which makes the whole poem have a qualitative leap.