Poets use very concise words. As long as they can accurately express their meaning, they will never use more than one word, which makes the poem appear crisp and neat in rhythm and gives people a lively and fresh feeling. What is more striking is that the word "twinkle" in the second sentence of the first paragraph "seems to twinkle with countless stars" can be used if "twinkle" is used, but the poet chose a concise one under the condition that he can also express his thoughts accurately. For example, the phrase "now" in the third sentence of this paragraph "the stars in the sky are now" does not use phrases such as "present"; In the fourth sentence, "It seems that countless street lamps are on", the word "bright" is used instead of "bright". Of course, concise words are also to meet the needs of short poems.
The last sentence of the third paragraph "I am sure I can ride an ox." Literally, the word "enough" in "I'm sure I can ride a cow" should be omitted. However, we know that an important feature of many poems is that they give you a strong sense of rhythm. The second and fourth sentences of the second paragraph, the second sentence of this paragraph and the second sentence of the previous paragraph all begin with three syllables of "must be (yes/yes)", but they are somewhat homophonic with the words "can" and "ran" in this sentence, which may be the reason why the poet chose "can" instead of "can". If this sentence starts with two syllables, it will destroy this aesthetic feeling.
Then the last sentence of this poem "Even if they walk with lanterns", why don't the first three syllables follow the prosodic rules of the first two paragraphs "Even if they are" must be? Does this ruin its rhythmic beauty? No, this is precisely the need for rhythmic beauty. The repetition of the same rhythm and rhythm in poetry can enhance the aesthetic feeling of readers like musical melody, but if the same rhythm is used all the time to the end, is it clumsy and dull in form and musical sense? If you don't believe me, change the first three syllables of this sentence to "it must be", and then read and listen to the whole poem again. In addition, the last sentence, suddenly change, open the original prosodic rules, and then stop abruptly, isn't it more wonderful? When we listen to music, don't we feel the same way at the end of the music?
The words used in this poem are also elegant. In the first sentence, "the street lamp is far from bright", the word "bright" in it does not need verbs such as "bright" in order to form a distinct and cyclical rhythmic beauty with the word "bright" in the second sentence. In the following paragraphs, the repeated use of "affirmation (affirmation)" in the corresponding position also has this meaning.
Let's analyze the usage of several "Tintin" in poetry from another angle. Logically speaking, there is a market in the sky, rare items are displayed in the street in the sky, the Tianhe River is not very wide, the Cowherd and the Weaver Girl can ride around on cows, and the Cowherd and the Weaver Girl wander around the street in the sky and so on. All these should be a guess or hypothesis, but the poet does not use words like "maybe" and "possible", but uses them to express his affirmation. Like the second paragraph. We assume that the beautiful street described by the poet is the sustenance of the beautiful life he yearns for in his heart. Since there must be beautiful streets in the ethereal sky, the life that the poet (who should also represent the people at that time) yearns for will certainly come true. The same is true of the third paragraph. The four short poems subverted the eternal tragedy with a very positive tone because of the words "affirmation" and "affirmation". What kind of confidence is this?
The attributive position of "shallow" in the first sentence of the third paragraph is also very clever If you change this sentence to "Look, Tianhe is definitely shallow and not very wide", it will be much worse than the original sentence. First, the first half sentence is too short and the second half sentence is too heavy, which makes the poem lose its original neatness in form, and the rhythm and intonation of recitation fluctuate greatly, thus making the poem lose its calm and plain overall style. In addition, such changes also make the second half of the sentence less concise. Secondly, emotional analysis is carried out from the tone. "Look, shallow Tianhe" will make you feel that Tianhe is shallow, which seems to be common sense. Compared with putting "shallow" after "affirmation" to supplement the shallow Tianhe, this sentence has a stronger affirmative tone (because the shallower the Tianhe, the easier it is for the Cowherd and the Weaver Girl to ride around the cow).
The transition of artistic conception between paragraphs of a poem and between sentence groups of each paragraph is very natural and coherent. In addition, the poem is short and neat, simple and plain, with no alternation of sentence patterns and emotional ups and downs. Read like a stream, soothing and smooth.
Each paragraph consists of two sentence groups and four lines of verse, and the semantics between the two sentence groups are very common. There is no need to analyze the last three paragraphs in detail because the connection inertia between their sentence groups is obvious. Let's look at the first paragraph. The first sentence group (the first two lines of poems) describes the "far street lamps" on the ground, and the last sentence group (the last two lines of poems) describes the "stars in the sky". There is no semantic and logical connection between them. Therefore, the author skillfully uses rhetorical devices and sentence transformation. He obviously wanted to say: "Street lamps are as bright as stars, and stars are like street lamps today", but he just changed them and sang: "Street lamps are as bright as distant places", followed by a post-modifier: "As if countless stars are shining", and then because street lamps are as bright as stars. Look, what a natural beauty.
What's more, "Street Lamp" is like a star first, and then like a star, which makes these four poems form a cycle and regression in form and phonology, and more vividly and flexibly shows the corresponding interest of "street lamp" and "star", thus achieving a high degree of coordination and unity in form, phonology and scene of the poem. That's great.
Let's look at the transition between paragraphs. Although the first three paragraphs are not as semantically coherent as the last paragraph and the third paragraph, the scenes described by their first sentence group and a sentence group behind the first paragraph are only moving between adjacent positions, so you won't feel broken and uncoordinated in artistic conception and plot. On the contrary, it is precisely because of this flexible use of sentence meaning and logical leap that poetry and the author's thinking are lively while maintaining the continuity between paragraphs and situations. For example, the last sentence in the second paragraph is "Some items displayed in the market must be rare in the world". If the third paragraph continues to describe what rare items are displayed in Tianjie, it is unnecessary, and it will appear very clumsy and dull, and it will also lose the aesthetic feeling of leaving readers with imagination space. So the poet flexibly turned his eyes to the "Tianhe" next to the beautiful Tianjie.
The last paragraph of the poem, "I think they must be wandering in the street at the moment." If you don't believe me, please look at that meteor, even if they come with lanterns. "What a beautiful poem, what a beautiful artistic conception! Is this expressing the poet's beautiful yearning for the future life? Or is it a preview of the poet's future leisurely and beautiful life?
Although the poem suddenly ended, the reader's thoughts could not stop. The far-reaching and vast starry sky is already charming, and that beautiful meteor is what they walked with lanterns. What a rich imagination! After reading such a poem, can you still stop your thoughts from galloping?