But the most famous is homesickness.
homesickness
In childhood
Homesickness is a small stamp.
I'm at this end
Mom is over there;
Homesickness is a narrow ticket when you grow up.
I'm at this end
The bride is over there;
Later, homesickness was a temporary grave.
I am outside
Mom is inside;
Now, homesickness is a shallow strait.
I'm at this end
The mainland is over there
"When I turned around, the wind blew black hair. When I turned around, it was all snow."
"Burn me to ashes, and my soul, Tang Po, still lingers in the thick soil."
2. Yu Guangzhong's poem "Homesickness":
When I was a child,
Homesickness is a small stamp,
I'm at this end,
Mom is over there.
Yu Guangzhong is nostalgic
When I grow up,
Homesickness is a narrow ticket,
I'm at this end,
The bride is over there.
Later,
Homesickness is a short grave,
I'm outside,
Mom's inside.
now
Homesickness is a shallow strait,
I'm at this end,
The mainland is over there
Creative background: Yu Guangzhong was in frequent escape and migration all his life, and was separated from his relatives many times. 197 1 year, Yu Guangzhong, who hasn't returned to the mainland for more than 20 years, was homesick, and wrote the poem "Homesickness" in his former residence in Xiamen Street, Taipei.
Appreciation: The whole poem has four sections. On the one hand, poets write poems with the changes of time: childhood-after growing up-later-now, four life stages. On the other hand, the poet takes the space barrier as the characteristics of these four stages: the separation of mother and son when I was a child-the separation of husband and wife when I grew up-the separation of mother and son later-the separation of the wanderer from the mainland now. The poet found a corresponding word to express his homesickness in four stages of his life: childhood stamps-boat tickets when he grew up-later graves-now straits. From this, we can see that this poem promotes poetic expression layer by layer with the isolation and change of time and space.
About the author: Yu Guangzhong, 1928 was born in Nanjing, Yongchun, Fujian. My mother was originally from Wujin, Jiangsu, so she also called herself "Jiangnan". Yu Guangzhong has been engaged in poetry, prose, criticism and translation all his life, calling himself a "four-dimensional space" for his writing. Today, he has been in the literary world for more than half a century, and he has been involved in a wide range. He is called "Duo E799BE5BAE6E59E7A94313337626134 wife". His literary career is long and profound, and he is a master of contemporary poetry, an important town of prose, a famous critic and an excellent translator. At present, 2 1 species of poems have been published; Prose collection 1 1 species; 5 kinds of comment sets; 13 translation; * * * More than 40 kinds. His representative works include White Jade Bitter Melon (a collection of poems), Memory as Long as a Railway (a collection of essays) and On the Watershed: A Collection of Comments by Yu Guangzhong (a collection of comments).
The homesickness poem written by Yu Guangzhong is badly needed. The poem has profound implications, which not only yearns for the reunification of the motherland, but also describes homesickness incisively and vividly. Just as many rivers in China are tributaries of the Yellow River and the Yangtze River, although Yu Guangzhong lives on an isolated island, as a China poet who loves the motherland and its cultural tradition, his homesickness poems inherit the national emotional tradition in China's classical poems from the inner feelings. With a profound sense of history and nationality, at the same time, the homesickness of thousands of people in Qian Qian, Qian Qian, who have been artificially isolated from Taiwan Province Province and the mainland for a long time and drifted to isolated islands, objectively has specific and extensive contents that the homesickness of any previous era can't match.
As a contemporary poet who has been away from the mainland for more than 30 years, Yu Guangzhong's works are bound to be deeply branded by the times. The poem "Homesickness" focuses on personal experiences in the mainland. A stamp in that period of youth, a boat ticket in that period of youth, and even a grave in the future all contain the poet's yearning for thousands of overseas travelers, and all these are sublimated to a new height at the end of the poem: "Now/homesickness is a shallow strait/I am here/the mainland is there."
For example, a hundred rivers rush to the East China Sea, and a thousand peaks rush to Mount Tai. The poet's personal joys and sorrows blend with his great love for the motherland and the nation, and the confession of the poet's personal experience is even more worrying because of the burning feelings at the end, as the poet himself said: "A vertical sense of history and a horizontal sense of region. The realism of the intersection formed by vertical and horizontal intersections. "
From this point of view, the poet's homesickness is the variation of our national traditional homesickness poetry in the new era and special geographical conditions, with unparalleled breadth and depth. Mr Yu Guangzhong loves China traditional culture and China.
Praise "China, the most beautiful and motherly country". He said: "The upstream of the blue ink is the Miluo River", "I want to be a descendant of Qu Yuan and Li Bai" and "I have a tributary of the Yellow River in my blood system".
The pursuit of beauty is simple, and it is full of beauty in the extraction and refining of images. Homesickness, an emotion that everyone generally experiences but is difficult to capture, will either become a common mediocrity or fall into an abstract emptiness if a unique image of beauty cannot be found to express it.
Nostalgia extracts four images from distant time and space: stamps, boat tickets, graves and straits. They are simple, so-called simple, not simple, but clear, concentrated and strong, without a sense of rambling; They have money, so-called money, and it is not piled up, it is hidden.
Tension can induce readers to associate in many ways. In the combination of images, nostalgia synthesizes images with the development of time, which can be called image progression.
"When I was a child", "When I grew up", "Later" and "Now" run through the poem like a red line, summarizing the poet's long life course and yearning for the motherland. The first three poems are like turbulent waves, and finally they collide with the nine-level waves of the whole poem. The formal beauty of nostalgia is also remarkable.
Its formal beauty is manifested in structural beauty and musical beauty. Homesickness presents the beauty from tradition in structure.
Unity means relative balance and symmetry; Paragraph patterns and sentence patterns are relatively neat, and paragraph by paragraph and sentence by sentence are relatively harmonious and symmetrical. Change is to avoid unification going to extremes, and to pursue the beauty of liveliness, fluidity and vitality.
Nostalgia * * * four plates. Each segment has four lines, and each segment is quite balanced and symmetrical. However, the poet pays attention to the change and adjustment of long sentences and short sentences, which makes the face of the poem neat and uneven.
The musical beauty of Homesickness is mainly manifested in the beautiful melody of reciprocating, singing and sighing, in which "Homesickness is-"and "there (in the head)" are repeated four times, and overlapping words such as small, narrow, short and shallow are used in the same position in the four paragraphs. The use of quantifiers such as "one piece", "one piece", "one side" and "one bay" not only shows the poet's language skill, but also strengthens the aesthetic feeling of the whole poem.
Homesickness is like a soft and slightly sad "memory song" in music, which is a deep and beautiful love song for overseas travelers. Writing background 1937 After the outbreak of War of Resistance against Japanese Aggression, Yu Guangzhong, aged 10, moved to Shanghai and Chongqing with his parents.
At the age of 22, Yu Guangzhong came to Taiwan Province Province with his family and was admitted to the Foreign Languages Department of Taiwan Province Provincial University. Although Yu Guangzhong majored in foreign languages, he has a keen interest in China traditional culture.
He has written a lot in poetry, prose, criticism and translation, among which poetry is the most outstanding achievement. People commented that his poems had a wide range of themes, varied styles and varied techniques, and integrated traditional and modern brushwork, China and the West.
Therefore, he is regarded as one of the "Top Ten Poets" of Taiwan Province's modernism. 197 1 year, Yu Guangzhong, who hasn't returned to the mainland for more than 20 years, was homesick and wrote a poem in his former residence in Xiamen Street, Taipei.
After writing, the poet was full of tears and thoughtfully for a long time. This is the "Homesickness" sung by overseas wanderers later.
4. Yu Guangzhong's homesick poems (1) and metrical poems (1949- 1956)
Represented by Elegy of the Ship, Blue Feather and Paradise Night Market. Most chapters are two or three paragraphs, each with four lines, and two or four sentences rhyme.
2. The gestation period of modernization (1957- 1958)
The stalactites and Xiluo Bridge in the second half are the representatives. Start to derive long and short sentences.
3. The modernization period of studying in the United States (1958- 1959)
Represented by Halloween. Writing training and art courses at the University of Iowa stimulated Yu Guangzhong's contact with modern art and generally absorbed western music. His works tend to be abstract.
4. Nihilia period (1960- 196 1)
Represented by Sirius and the first half of the boy in the Five Tombs. Yu Guangzhong in this period created the illusion of a hero in the melancholy pallor of westernization, and could not ask for warmth from tradition. In his works, he often reveals the sorrow of the last days, but he still can't isolate himself from the tradition, but he has a sense of vacuum. Sirius not only reflects the helplessness and emptiness of individuals or poets, but also reflects a culture and nation's suspicion of tradition and accepting external shocks.
5. Neoclassical period (196 1- 1963)
The second half of the year is represented by Wuling Junior and Lian Fang. The Legend of Lotus has pushed the lyrical tradition of China literature to another peak in the mutual interpretation of literature and vernacular, the comparison between single-track syntax and double-track syntax, and the changes of neat paragraphs and irregular branches.
6. Back to the modern China period (1965- 1969).
Represented by percussion and the cold war era. Self-analysis, metaphysical theme, double-sided exploration of the same theme, and interaction between sex and war are all profound. Skills and thinking reach their peak.
7. Folk custom period (1970- 1974)
Represented by "White Jade Bitter Melon". The work absorbs the romantic spirit of rock music and faces the present reality with the national consciousness of returning to the native land. At this stage, Yu Guangzhong also got rid of the confusion of "who am I" and made a promise as a "night watchman", expecting himself to achieve eternal poetry through the suffering of life.
8. Historical and cultural exploration period (1974- 198 1)
Represented by Tug of War with Eternity and Crossing the Water with Guanyin, poetry gradually becomes more intellectual than emotional, and tends to be natural rather than deliberately forging words and phrases.
9. Actual autumn harvest period (after 198 1)
Represented by the five elements and high-rise buildings facing the sea. During this period, Yu Guangzhong not only sang the family ethics, satirized the soul of the Han Dynasty, and understood the mystery of life and death, but also multiplied the regional homesickness with the vicissitudes of culture, from the romantic nostalgia in his early years to the injury in reality now, becoming a whisper.
5. Yu Guangzhong's homesick poems in his childhood
Homesickness is a small stamp.
I'm at this end
Mom is over there.
When I grow up
Homesickness is a narrow ticket.
I'm at this end
The bride is over there.
We'll talk about it later.
Homesickness is a low grave.
I am outside
Mom's inside.
But now
Homesickness is a shallow strait.
I'm at this end
The mainland is over there
Yu Guangzhong's Four Rhymes of Homesickness
Yu Guangzhong of Four Rhymes of Homesickness
Give me a spoonful of Yangtze River water, Yangtze River water.
Yangtze river water like wine
The taste of drunkenness
It's homesickness
Give me a spoonful of Yangtze River water, Yangtze River water.
Give me a Zhang Haitang red, begonia red.
Blood-like begonia red
The burning pain of boiling blood
This is the pain of homesickness
Give me a Zhang Haitang red, begonia red.
Give me a piece of snow, snow
White as a letter.
Waiting for a letter from home
It's a homesick wait.
Give me a piece of snow, snow
Give me a sweet wintersweet.
Mother-like Chimonanthus praecox
Mother's fragrance
It's the fragrance of the country.
Give me a sweet wintersweet.
6. A brief introduction to Yu Guangzhong's life and a homesick poem Yu Guangzhong (1928-) was born in Yongchun, Fujian and Nanjing, Jiangsu. 1947 joined the Foreign Languages Department of Jinling University (later transferred to Xiamen University), 1949 moved to Hong Kong with his parents, and went to Taiwan to study in the Foreign Languages Department of Taiwan Province Provincial University the following year. 1953 founded "Blue Star" Poetry Society with Qin Zihao and Zhong Dingwen. Later, he went to the United States for further study and obtained a master's degree in art from the University of Iowa. After returning to Taiwan Province, he became a professor at National Normal University, National Chengda University, National Taiwan Province University and Chinese University of Hong Kong. He is currently the Dean of Art College of Sun Yat-sen University in Taiwan. Yu Guangzhong is a complicated and changeable poet, and his changing track can basically be said to be a trend of the whole poetry circle in Taiwan Province for more than 30 years, that is, westernization first and then regression. In the early poetry debates in Taiwan Province and the rural literature debates in the mid-1970s, Yu Guangzhong's poetry theory and creation showed a strong tendency of advocating westernization, ignoring readers and being divorced from reality. As he himself said, "When I was a teenager, my pen was touched by the aftermath of Heaton Ling Ke, or the river of the Thames. The brewing industry is nothing more than 1842 wine. " After the 1980s, he began to realize the importance of his country to his creation. He extended his poetic pen back to that continent and wrote many homesick poems. His attitude towards local literature changed from opposition to kindness, showing an obvious trajectory of returning from west to east, so he was called a "prodigal son" by the poetry circles in Taiwan Province Province. From the perspective of poetic art, Yu Guangzhong is an "artistic hybrid poet". His works are extremely inconsistent in style. Generally speaking, his poetic style varies from subject to subject. Poems expressing will and ideals are generally magnificent and powerful, while works describing homesickness and love are generally delicate and soft. He has written more than ten kinds of poems such as Elegy of Zhou Zi, Blue Feather, Stalactite, Halloween, White Jade and Bitter Melon.
homesickness
In childhood
Homesickness is a small stamp.
I'm at this end
Mom is over there.
When I grow up
Homesickness is a narrow ticket.
I'm at this end
The bride is over there.
We'll talk about it later.
Homesickness is a low grave.
I am outside
Mom's inside.
But now
Homesickness is a shallow strait.
I'm at this end
The mainland is over there