The whole poem adopts the lyric way of direct expression. As a famous poet who was born in the mainland and became famous in Hong Kong and Taiwan, affection, nostalgia and patriotism became the main direction of his poetry creation. Yan Canglang once said: "Poetry has different materials and has nothing to do with reason; Poetry has other interests, not books. " .
The first chapter, meaning is expressed by images, and emotion is expressed by images. The poet chose "Yangtze River Water" as the first image, which has profound implications.
The second chapter, the nature of association, is closely linked. What the poet wants is a piece of "begonia red", not "begonia red as blood". The first chapter is the development of images.
Chapter three, the harmony of sound, singing and sighing. The poet chose the image of "Snow White" with national characteristics. It is a poet's reflection and a new pursuit.
The fourth chapter, unreasonable and wonderful, is full of other interests. The image chosen by the poet is "wintersweet". "Tomorrow, leaning against the window, the cold plum is full of flowers and trees." Is to create bright colors.
In the whole poem, the poet's passionate homesickness and patriotism are like a red line, which organically organizes four groups of images with national characteristics: Yangtze River water, begonia red, snowflake white and wintersweet incense. The poet chose "Yangtze River Water" as the first image, symbolizing modern civilization.
(1) means to show images, and feelings to show images.
Poetry is the art of expressing feelings, but the expression of such feelings is taboo and empty. Therefore, poets often choose some "emotional equivalents" (images) to express their feelings, so that poems have implicit and lasting expression effects. In Yu Guangzhong's four verses of Nostalgia, four images with China characteristics and individual style are selected in turn to express the poet's long-accumulated homesickness complex. The first paragraph, "Give me a spoonful of Yangtze River water, Yangtze River water", started with a call and was repeatedly sung. "Yangtze River Water" is thought-provoking and intriguing. It is the gurgling spring that naturally moistens all things, the sweet milk that mothers feed their children, and the long tenderness that the motherland soothes wanderers. The poet's deep call for wandering around the world is like a traveler who has crossed the desert and suffered from drought's longing for green state and clear spring, anxious and painful, persistent and obsessed! The second paragraph of Begonia Red and the fourth paragraph of Lameixiang are full of classical charm, which easily arouse people's similar associations with China's classical poems, and also implicitly and vividly express the poet's nostalgia and love for China's traditional culture. Trees soar and leaves fall back to their roots; People are on a journey, and their souls return to their hometown. Even if the ends of the earth are afraid of the sea and mulberry fields, the blood of culture will last forever. The third section "Snow White" depicts color and heart, and compares the childlike innocence and love for the motherland with crystal clear snow. The four images are presented in the same way, expressing the poet's deep feelings for the motherland from many aspects and angles.
(2) Lenovo is natural and interlocking.
The beauty of the four rhymes in Homesickness lies not only in the choice of images, but also in the layers of association around the central image, which greatly enriches the emotional connotation of homesickness. The first section, "Yangtze River water" is associated with "wine", from "wine" to "drunk taste", and then from "drunk taste" to "homesickness taste"; The other three sections are related to "Begonia Red", "Snowflake White" and "Chimonanthus Fragrant" respectively, and the development of ideas is similar to the first section. These associations, linked one by one, advance step by step, fully revealing the profound and lasting characteristics of homesickness. In the first section, the first layer of association compares "Yangtze River water" to "wine", which highlights the richness and depth of homesickness. The second layer of association, from "wine" to "the smell of drunkenness", is logical and natural, showing a thrilling homesickness feature; The third layer of association compares "the smell of homesickness" with "the smell of drunkenness", turning abstraction into concreteness and complexity into simplicity, so that people, especially those who have never left home and wandered around the world, have a concrete and clear sense of homesickness. The three-layer association is subordinate to "homesickness", which suddenly shows "homesickness" and clearly and orderly expresses the author's feelings. Obviously, this is more artistic than a single associative metaphor, and the associative expansion of the other three sections is similar, so I won't go into details here.
(3) Harmony of phonology, singing and sighing.
Four Rhymes of Homesickness can be regarded as a tune written in words. The first line is like the theme melody of music, which echoes at the beginning and end of each section, making each section like an independent "music fragment". The structure of the four sections is very similar. These similar "music fragments" are played repeatedly, forming a musical rhythm of repeating steps and singing three sighs, which deepens the theme and produces it. This idea of overlapping sentences is obviously based on the Rondo feature of China folk songs.
(4), unreasonable, interesting, rich in his interest.
Yan Canglang once said: "Poetry has different materials and has nothing to do with reason; Poetry has other interests, not books. " Here, "different materials" and "different interests" refer to the characteristics of "unreasonable and wonderful", and the so-called "unreasonable" refers to the unexpected beauty and interest of poetry brought about by this inversion. In the four rhymes of Homesickness, the author does not say "a red begonia", "a white snowflake" and "a fragrant wintersweet", but prefers "a Zhang Haitang red", "a white snow" and "a fragrant wintersweet". Obviously, according to the logic of life and expression habits, "red" can't be modified by the words "Zhang" and "white". But the poet's originality lies in: emphasizing "red" with "a red begonia" to highlight the brilliance of "red" and naturally connect with "blood" below; Emphasize "white" with "a piece of white snow", which is crystal clear and spotless, and the word "white" is closely connected with the letters behind it; Use "a Chimonanthus praecox fragrance" to emphasize "fragrance" and highlight the fragrance of Chimonanthus praecox, which is connected with "mother" below. On the contrary, if you say "give me a red begonia", "give me a piece of white snow" and "give me a fragrant wintersweet", the natural association of following the trend cannot be unfolded. Therefore, we can appreciate the poet's poetic wisdom from this abnormal and bizarre collocation.