Regarding the "Yangtze River Water" in the first section, there was a dragon in the ancient East, named the Yangtze River. As a descendant of the dragon, I can't forget the mother river of the motherland-the Yangtze River, whose waves resounded through the sleepless nights of overseas wanderers. Choose this image as a poem, and regard it as "water brings you the feeling of home, dragging your boat for 300 miles." "Thousands of rivers have thousands of rivers and moons" and so on? In order to let the hair grow, I drank water and wine, but it was homesick. This section describes the intensity and length of homesickness. With regard to the "Begonia Red" in the second section, the map of old China is like a leaf of Begonia. Therefore, Red Begonia inevitably aroused the poet's homesickness. Color, blood color and fire color are the same as red, blood boiling, and the burning pain of homesickness is caused by blood boiling.
It is painful to write about homesickness.
In the third section of Snow White, it is difficult to find snow on Taiwan Province Island. The song is "Come to Taipei to watch the rain in winter". Lack of snow in winter means lack of the mainland. Snow in winter is a sign of another year's past, a kind of urging of ruthless years, which adds a heavy weight to homesickness and homesickness. In half a century of farewell and expectation, "a letter from home is worth a ton of gold".
I haven't heard from you for a long time, but my homesickness has not been expressed for a short time. This section describes the waiting and expectation in homesickness and hunger.
The fourth section discusses "Chimonanthus praecox". In the traditional culture of China, plum blossom is a symbol of good moral character and personality. Plum blossoms are as long-lasting as maternal love, and from the cultural background, plum blossoms are more national flowers than peony. Influenced by traditional culture, poets associate the fragrance of Chimonanthus praecox with the fragrance of maternal love, and with the native land where they grew up. In this section, he wrote that the overseas wanderers wandered in the old country, immersed in the warmth of refuge, and temporarily relieved their homesickness. Perhaps the poet also wants to break through the political isolation between the two sides and usher in the hope of peaceful rejuvenation. This section expresses identity and refuge from the cultural level, which is an extension and summary of the ideological content of the first three sections.
The combination of images in the four rhymes of Homesickness shows the skill of harmony. The image expressing hope in the first sentence is only a local scenery, which is not only the carrier of homesickness in classical poetry, but also the corresponding image connected with the poet's heart. Different from classical poetry, the original meaning of the image in the second sentence is not born linearly, but is transformed by injecting the feelings of the subject, with metaphor as the transition. The third sentence is extended by association and switched to the fourth sentence.
Describe the form of homesickness. The last sentence is literally the repetition of the first sentence, but the connotation of the image has changed qualitatively, becoming a symbol of homesickness and having the ontological meaning of homesickness. Although the original meanings of the three images in each poem are far from each other, through metaphor, deformation, association, symbol and repetition, the jumping and transformation of images are completed, and the poetic thoughts are jumping and coherent, flexible and natural, and finally point to the expression of homesickness.
The fusion of eastern and western poetry art has been realized.
Layering is another feature of the image combination in Four Rhymes of Homesickness. The intensity and length of homesickness lead to the pain of homesickness, which inevitably leads to the waiting for relaxation, and the only way to relax is to return to the mother, hometown and motherland, and return to the embrace of the motherland. The whole poem is coherent in context and progressive in meaning. Homesickness becomes the intersection of clues and combinations throughout the poem. The layering of image combination makes the poetic artistic conception present a certain continuity. The first section, the taste of homesickness is the beginning; In the second quarter, the burning pain of homesickness is expansion; In the third section, the waiting of homesickness indicates a turning point; In the fourth quarter, the wandering wanderer returned to his native land, which eased his homesickness and formed the climax of the whole poem. This poetic change constitutes the inner melody of this poem. The interpretation of homesickness in "Four Rhymes of Homesickness" moves from plane to multi-dimension, from fragment to process, from obscurity to clarity and rationality, which breaks through the barriers of traditional aesthetics and makes it unique. The poetic style of Four Rhymes of Homesickness has the formal beauty of polyphony. First, harmony and neatness. The number of lines, pauses and even words in the four verses are equal to those in the fourth verse.
The column shows the spirituality and wisdom of Chinese characters. There is no lack of beauty of change in neat and beautiful works. The viewpoints of the four poems change in order of feeling, sight and smell, and the image colors of the four poems are divided into blue, red, white and yellow. "Rhythm symbolizes content." This exquisite polyphonic word is not only suitable for expressing homesickness, the motif of classical literature, but also suitable for expressing the poet's feelings of going abroad and homesickness. The expression and aesthetic orientation of memory emotion inherited and developed the excellent tradition of China's classical poetry. Yu Guangzhong's homesick poems are full of rich cultural connotations and have formed people's understanding at home and abroad. The four rhymes of homesickness extend their hands to call for deep affection and burn for homesickness.
This lyrical gesture of waiting for refuge has never appeared in previous poems, expressing the love and sincerity for China culture. The homesickness in Yu's poems comes not only from the national affection that blood is thicker than water, but also from cultural identity and refuge. It also comes from the sadness that culture is alienated. In May 2000, the poet returned to his alma mater, Nanjing University, to attend the centenary celebration. When a reporter asked about the cultural differences between the two sides of the strait, the poet instinctively pointed out: "You asked a little question. There is no difference between the cultures of the two sides of the strait, because it is actually a culture, that is, the political situation is different, and the origin of culture is still the same. As far as my own feeling is concerned, as long as you are from China, you must know two traditions. One is the great tradition of China literature, that is. " The other is the small tradition, that is, the new literary tradition since the May Fourth Movement. "Both sides of the strait have actually inherited this tradition." Don't abandon five thousand years of culture for fifty years of politics. "From this, we can understand the national consciousness, historical consciousness and cultural background of his poems. Homesickness thrives because of the lighting of culture, and it is gone forever because of the support of cultural heritage, which gives the wandering hearts of Chinese at home and abroad a harbor to anchor. Cross-strait.
The same strain of the world is the basis and condition for cross-strait reunification. When Lee Teng-hui proposed to Taiwan independence a plan to cut off the cultural ties between Taiwan Province Province and the mainland, didn't the cultural implication of homesick poems become more precious and significant? It is worth noting that Yu Guangzhong's homesick poems are numerous and enduring, which exceeds the quality of his creation. The poet wrote "Homesickness" and "Four Rhymes of Homesickness" and repented of his "writing". Many poems are not about homesickness, but about historical figures, such as Li Bai, Wang Zhaojun and Li Guangling ... This is also homesickness, and diplomatic expression of homesickness is also my literary ideal. "It seems that homesickness, once produced or once possessed, will always be like spring grass in love, dreams and poems. Singing homesickness may only yield beautiful echoes, and homesickness may only be temporarily dissolved in the imagination of poetry, but this. Isn't it worth pondering? A nation with shallow cultural traditions cannot produce a poet who hates homesickness so much as Yu Guangzhong. Yu Guangzhong's homesickness ballads rooted in 5,000-year-old culture have made the ancient poetry motif move towards the vast passionate world of modern poetry. He has harvested new green poems in the garden of classical images, which is the poet's spiritual homecoming. Looking back on the Millennium, the bright moon illuminates Li Bai's homesickness. Spring flowers accompany Du Fu's imaginary return journey. When the blue waves of the Yangtze River billow in the afterglow, reflecting the red of Haitang, white snow flowers and the fragrance of wintersweet, the poet's wandering heart will rest in the warm embrace of the motherland.