This poem is ingeniously conceived. The first words "don't need" and "don't want" are in sharp contrast with the following three ones, which makes the author's pursuit even more pitiful. The superficial "no resentment" hides the unattainable "resentment" against the vast sea, which is more sympathetic than direct expression. In addition, it is quite ingenious to compare the poet's personality and pursuit of innocent feelings with the nature of "children's pure desire"
Xu Zhimo, who always wants to "fly" (prose of the same name) and "travel in the clouds" (poetry of the same name), always writes his yearning "fly" with cold and ethereal pen and ink, but in this poem, he decisively declares: "I don't need a vast sea and sky, and I don't want to put a huge paper owl in heaven to play tricks on all directions. Xu Zhimo described "flying", "flying, flying, flying" (the joy of snowflakes) many times in a few poems, which almost became a lingering deep complex of his personal creative psychology, and also became a dynamic "gesture" and "illusion" that appeared repeatedly in his poems, and became a flying dream to communicate with all mankind through personal symbols, and it rose.
Among all kinds of flying, what fascinates Xu Zhimo especially is Zhuangzi's "carefree" style of "angry flying, its wings hanging in the clouds" and "strong flying" ... carrying the blue sky without dying. He declared, "If you want to fly, you have to fly all over the sky. The wind can't stop clouds from flying. With one wing, you jump over a hill, and the shadow will cover the flight of 20 acres of rice fields ... "It's spectacular and carefree.
However, in the poem, the author claims to give up all this grandeur and carefree, claiming that "the vast sea and sky" and "I don't need it" symbolize freedom. It is full of the heaviness of the disillusionment of the poet's ideal and the sadness of "too strong to turn". Here, the hope of an innocent and romantic idealist is so humble, small and pitiful: it is no longer the extravagant hope of "flying strong" and "roaming in the clouds", but only the hope of "one minute", "a little light" and "a little sky" like a crack.
The author then emphasizes and depicts an unforgettable picture with dashes: a child-"child" is fresh, life has just begun, hope has just sprouted, and he definitely should have more light, better hope, more open freedom and longer vitality-"in a darkroom window, looking at the immortal crack, a little light, a little light, on the western horizon. This picture has a strong visual effect similar to the "freeze frame" of the lens in the movie. Like the black-and-white film lens with great contrast between light and dark, the sensory stimulation is particularly strong. The time image of "one minute" plays two roles at the same time here: on the one hand, "one minute" corresponds to the author's previous declaration of "I just want", as if such a humble and pitiful hope was finally reached, and it only takes one minute in time; On the other hand, "one minute" itself, as a word to express the objective physical length of time, will inevitably leave a short and solidified reading effect in readers' reading imagination.
This poem uses the "irony" technique advocated by the western "New Criticism". In language statements, if we dig deeper, we use one of the main ways of irony-the irony of exaggerating statements. The so-called "irony" is the irony of the truth. The words are here and the meaning is there. The so-called "exaggerated statement" is a false exaggeration, but it is boastful and implies the opposite nature. Readers should better understand this poem from the perspective of irony.
At the beginning of the poem, some "I don't want" statements, such as "the autumn rain that broke the ground", are just exaggerated statements. It is precisely because the poet wants "the vast sea and sky" that he says this, and he will strive for "a crack", "a little light" and "a minute" like a dogged child. It can be said that the poor, humble and tenacious persistence in pursuing light reflects a "vast sky"-a symbol of "freedom and light"-which is very important for everyone with life.
This poem not only uses irony in local language skills, but also successfully uses irony and tension structure in the overall structural arrangement of the whole poem. The title and final ending of Broad Sky constitute a strong contrast effect of irony. The development and arrangement of poems are both natural and ingenious, starting from "a sea and sky" and finally squeezing into a narrow time like a crack. The author consciously pays attention to the visual effect in sentence arrangement. The whole poem takes the shape of an inverted triangle, and the "seam", "light" and "clock" are arranged in a neat and cramped line, and the "clock" of "one minute" is finally arranged separately ... The author uses a special arrangement to increase the weight of the last nine words, and the "seam", "light" and "clock" are even more powerful. The poet created new forms according to the need of expressing emotions, which can show the poet's unique ingenuity and profound meaning, and make readers see the difficulty of pursuing light and "a vast sea and sky" and fully reveal this pursuit.
original work
The vast sea,
Empty days,
I don't need it,
I don't want to put a giant paper owl,
God plays tricks on the winds in all directions.
I just need a minute,
I just need a little light,
I just want to try,
-Climb down like a child
In the window of a dark room,
Looking at the immortal cracks on the western horizon,
A little light,
One minute.
For the inevitable nature of human beings.
Brief introduction of the author
Xu zhimo
Xu Zhimo (1897 ~ 193 1) is a modern poet and essayist. Famous Zhang Yi, pen names Nanhu, Yun Zhonghe, etc. Haining, Zhejiang. 192 1 went to study in the uk and became a special student at Cambridge university in London, studying political economy. My two years in Cambridge were deeply influenced by western education and romantic and aesthetic poets in Europe and America. 192 1 Start writing new poems. 1922 After returning to China, he published a lot of poems in newspapers and periodicals. Professor Peking University went from 65438 to 0924. 1926, Wen Yiduo, Zhu Xiang and others launched the metrical movement of new poetry, which influenced the development of the art of new poetry. In the same year, they moved to Shanghai and successively served as professors at Guanghua University, Daxia University and Nanjing Central University. /kloc-in the winter of 0/930, she taught in Peking University and Peking Women's University. 193 1 year1month 19 died in an air crash near Jinan.
Xu Zhimo's poems are fresh, harmonious in rhythm, novel in metaphor, rich in imagination, beautiful in artistic conception, elegant in thought, rich in change, pursuing neatness and splendor in artistic form, and having distinct artistic personality. He is a representative poet of the Crescent School. His prose is also sui generis, and has achieved no less achievements than poetry. His works have been edited and published as Collected Works of Xu Zhimo.