Contemporary poetry has never had a geographical position, not just Shaoxing. Lei Pingyang, a poet in Yunnan, wants to write about Yunnan, but there are not many regional characteristics, only personal characteristics.
Novels can be written in good places. Lu Xun wrote about Luzhen, Shen Congwen wrote about Xiangxi border town, Marquez wrote about Macondo, and Faulkner wrote about a place as big as a stamp. The villages and towns they wrote became concrete symbols, which became the driving force of economic innovation for later generations and effectively benefited future generations.
But poetry didn't, never. Ai Qing wrote about Jinhua Village, his hometown, where he grew up in his early years, but this village can't be the pride of local people in any case. Pan Wei, a gifted scholar in Zhejiang province, wrote about Taihu Lake, which inspired a school of meteorology in the south of the Yangtze River and hoped that Taihu Lake would become his resting place. However, his writing about Taihu Lake, in particular, conveyed the amorous feelings of Taihu Lake water town, rather than subjective images. This is because of the lyrical characteristics of contemporary poetry.
The place names involved in ancient poetry are more vivid and proud than those involved in contemporary poetry. For example, how much cultural content a stream carries.
Of course, it is not without place names, such as Nanshan in Jiang Libo's poems and Shaoxing style bell tower in Pope's poems, but these do not seem to be real geography.
Therefore, in a strict sense, I think it is impossible for a poem to express Shaoxing's regional customs.
Shaoxing poetry group can only be defined as a group of poets whose growth experience is inseparable from Shaoxing. For example, Luo, for example, returned to the ground and did not leave Shaoxing until he was an adult; However, Ye Xiang has been living in Shaoxing since graduation.