The worker has a copy that can be created.
Europe, Africa and Asia,
I did it quickly, but it was nothing.
There's something in your eye.
Every tear,
One earth, one world, grew up in this impression. Finally, your tears mixed with mine and flooded the world. In your tears, my heaven melted.
This paragraph can be divided into three parts, the first four lines, the middle two lines and the rest. The first part mainly says that a worker drew a map on the globe and found nothing when he finished. The key words "create", "fast" and "nothingness" create a globe, but the size of the earth and the size of the globe constitute a strong contrast and paradox, forming tension, while "copy" and "create" constitute irony, highlighting the contradiction between the difficulty of the creation process and the nothingness of creating results. It plays a role in paving the way and dispelling the destruction of the third part.
The second part of the middle two behaviors, seemingly abrupt, is actually a smooth turning point, and the word "so" is the key and plays a transitional role.
So you have something in your eye.
Every tear
These two sentences seem easy to understand, but they are actually difficult to understand. Since ancient times, the image connotation of "tears" has been very rich, and poetry since modern times has been suspected of being overused. The word "every" here emphasizes the number and internal continuity of tears, which implies that the fact that all creation is ultimately nothingness has always existed.
One earth, one world, grew up in this impression, and finally your tears mixed with mine and drowned the world.
Association and divergent thinking play an important role in this part. The previous sentence can be divided into the following two parts.
"One earth, one world, growing up with this impression" can be understood in two ways. One is to regard "this impression" as ordinary water with the same quality as "tears", and water breeds everything. Another understanding is to interpret this "impression" as the fact that "all creation is ultimately nothingness" in the complex sense of the new critical theory. It should be that the above understanding is reasonable and interactive, and the two are mutually reinforcing and enriching.
"Finally, your tears mixed with mine and flooded the world." From the perspective of traditional poetics, this sentence is in place as long as the tears are mixed together and associated with the flood, and then associated with the story of Noah's ark in the Bible about the flood. The mystery of new criticism goes far beyond these. "Your tears are mixed with mine" further shows that you not only realize the sadness and disappointment that "all creation is nothing in the end", but also push "I" from "you" and "me" to the public, which shows the breadth and depth of this emotion and understanding, so everyone's emotion and understanding "flooded" the world.
From globe, tears to flood, these three images seem quite irrelevant, but they are deeply connected, and the connection of distant images forms a strong tension.
In your tears, my heaven melted.
Everything in the first three paragraphs finally comes down to this point. In your tears, my ideal heaven will be shattered. Because only a part of the excerpt is analyzed, it is impossible to know the definite referential relationship between "you" and "I", leaving the specific context of the context, and the analysis of the last sentence ends here.