The original poem "Village Night" is as follows:
Since there are similarities between poetry and movies, we might as well use the movie technique to appreciate the writing order of the scenery in this poem.
In movies, according to the distance of sight, the lens can be divided into:
Foresight, panorama, middle shot, close shot, close-up.
From the perspective to the close-up, the focus gradually narrows.
The bad sound bēi means seaside.
The poet's eyes began from the grass by the pond and gradually extended to the water surface by the pond. The order of scenery writing is from near to far. In the words of focal plane, there are close scenes extending to middle scenes.
It should also be noted that this poem uses intertextuality. If understood literally, it means that the pond is full of grass and the water in the pond spreads to the shore. This is uneven. How can the grass grow all over the pond? In fact, people who have a little experience in the countryside know that the aquatic plants near the pond are actually difficult to separate and often mix together. People who don't understand intertextuality often change this sentence to: the pond is full of water and the grass is full of malice.
Along the landscape of the previous sentence, the poet's eyes continue to expand. From the water by the pond to the distant mountain, and then to the sunset on the mountain. In terms of focal plane, it extends from the middle view to the panoramic view.
The afterglow of the sunset sprinkled on the pond, and the red light jumped with the water waves. The poet's eyes seem to have returned to the pond. But this is the beauty of poets.
After reading this, as long as the reader is willing to work hard, will the background of the whole pond immediately emerge in his mind? According to Sun Tzu's Art of War, this is "retreat for progress".
Although the poet's Yu Guang jumped back into the pond slightly, he painted a picture with a very wide field of vision: mountains, water, sunset, a nearby pond, and aquatic plants beside the pond.
In terms of focal plane, it extends from panorama to foreground.
In the first two sentences, the poet's eyes have been expanding, from close shot to middle shot, from middle shot to panorama, and finally to distant shot. The prospect is broader than the panorama.
This is a close-up. It seems a bit lonely in the sunset without anyone's participation. The poet gave a close-up of the "shepherd boy" endowed with local flavor and life flavor. The shepherd boy is very naughty. He sat on the back of an ox. Why is it sideways? It can be seen that the shepherd boy is young. Adults are too old to sit on the cow's back, so they can only ride on the cow's back seriously.
"Moody" appeared in this sentence, and you can say that the poet pushed the close-up to "Moody" again. But I think this understanding seems too rigid. Poets probably don't look at shepherds with binoculars.
The first three sentences are silent, and the last sentence is voiced. The poet presents not only a two-dimensional picture, but a childhood impression that spans time and space hidden in everyone's heart.
At this point, the order analysis of the whole poem is completed. To sum up, the poet looked from near to far, and finally chose a close-up shot.