I am a small river,
I didn't mean to bypass you-
You have no intention of turning your rosy clouds into shadows.
Into my soft waves.
I ran through a forest,
Soft waves will swing.
Put those green leaves and shadows
Cut your skirt short.
I walked through a flower bush.
The soft waves are sparkling.
Put those sad flowers and shadows
Weave it into your crown.
Helpless, I finally flowed in,
Into the ruthless sea—
The sea is full of wind and waves.
Blow off Corolla and smash the skirt!
I also drift with the tide,
Drifting to infinity—
Your rosy clouds.
Like the scattered rosy clouds!
Feng zhi
China's love poems have a fine tradition. Except for some straightforward and passionate chapters, many excellent works are good at expressing the deep affection between men and women in twists and turns by means of metaphor and suggestion. Poets often use the sun, moon, stars, mountains and rivers, birds and grass to "touch things with passion" or "ask things to express their feelings" (Song Huyin's Book with Li Shuyi). Lu Xun praised Feng Zhi as "the most outstanding lyric poet in China". His early love poems not only drew lessons from the lyrical techniques of China's classical poems, but also were influenced by Heine, petofi and the late German symbolist poet Rilke. He absorbed beneficial nutrients from the works of outstanding Chinese and foreign poets, and formed a graceful but not obscure, exquisite but not delicate lyric style. Feng Zhi's I am a River describes the love between boys and girls, full of lush business and youthful vitality. With rich imagination, the poet chooses common things for metaphors and hints, unexpectedly comparing himself to a small river and the rosy shadow in the river to a beautiful girl in his heart. The novel and ingenious connection between things leads to the unconventional artistic conception and beautiful and clear artistic conception of poetry. There are five bars in the poem, and a small plot runs through it. The poet first wrote the tenderness between "you" and "me" through rivers and shadows. The poem uses the word "unintentional" to describe the harmony and nature of true love. The love between men and women is a noble and pure feeling of human beings, which can not tolerate any reluctance and affectation, and does not need any artificial pulling and matching. It is like a free-flowing river. The scenery on both sides casts her shadow in the blue waves, and the clean and beautiful shadows blend with each other, naturally forming a realm of "infinite harmony". In the first section, the author only uses four lines of poetry, and he will enter the scene and find a unique lyric way. Then, the poet used a metaphor, that is, I am a river and the river is me. He took the river through the forest, through the flowers and into the sea as a lyric clue, and described the feelings of "I" as touching and ups and downs. In the second and third sections, I wrote that I cut green leaves into my lover's skirts and woven sad flowers into my lover's crowns with rippling soft waves. This poem is rich in imagination, beautiful in image and full of joy and happiness. Finally, the river flows into the sea, and the violent wind and waves on the sea blow off the corolla and smash the skirt. The river and shadows dispersed with the tide. Another picture depicted at the end of the poem vividly illustrates the relationship between young men and women who sincerely love each other. Although the length of this poem is short, it runs through with a simple plot, with exquisite words and tactful emotions.
The love poems during the May 4th Movement expressed the awakening of a generation of young people, who had rebellious spirit and sincere feelings. Young poets often express their anti-feudalism, anti-propriety and pursuit of freedom and happiness by expressing "personal estrangement" and "inner corner". "Huxiang Poet" and Guo Moruo's "Bottle" have both achieved success and produced enthusiastic response. However, in the early poems of some petty-bourgeois poets or revolutionary poets, there are often some negative factors, and sometimes they show the sentiment of love first, aestheticism and vulgarity. Feng Zhi's love poems are not directly lyrical and do not fully reflect the spirit of the times, but they are unique with their gentle style and pure poetic beauty. He is good at showing or suggesting ideas with rich and novel images, and there is no mysterious and decadent color in his works; He often expresses his feelings tactfully, but there are no flashy words in his poems. When talking about his early poetry creation, the poet also said: "At that time, I was still young and couldn't say anything about poetry, but under certain forms of constraints, I was willing to be lively and comfortable; I don't like a poem to make it dull and lifeless, or to pile up gorgeous words to make up the number of words, lines and rhymes, which makes people breathless. " Feng Zhi's works are full of poetry and painting, but he also pays attention to self-restraint and control to prevent emotional freedom from flooding. Compared with some contemporary poets who run wild horses, his poems can show an elegant beauty. Feng Zhi is a contributing poet in the history of China's new poetry, and his unique achievements in lyric poetry are worth cherishing.