According to the logical order, it describes the process of the poet's climbing, homesickness, imagination and finally returning to reality, and expresses the poet's melancholy and depressed feelings as an overseas wanderer. When writing this poem, there are several points worth noting:
Polysemy and sensitivity of language-the application of images;
One is a cuckoo. Du Fu is often used to express sadness in classical poetry. Li Bai's poem "Huayang is full, Wen Daolong crosses five streams" has a sad atmosphere of farewell to friends. Li Yishan's poem "Saint Zhuangzi daydreaming, butterfly bewitched, monarch in love with cuckoo crowing" wrote the long-term backlog of pain; Qin Guan's ci "Lonely Pavilion, Cold Spring, Sunset, Cuckoo Sound" has a great sense of desolation; Wen Tianxiang's Jinling Post said: "Reed grows old with me everywhere, and swallows in my hometown can fly. Now, don't go to Jiangnan and become a cuckoo with blood. " The scenery I wrote made people cry for their loyalty and heroes in national affairs and different mountains and rivers. Similarly, the poet expressed his sadness that he could not return to his hometown with this image of hemoptysis cuckoo with traditional cultural implications.
The second one is an egret. Egrets often express their free yearning for a quiet and peaceful life in classical poems, such as Wang Wei's "Egrets fly in the quiet swamp, mango birds sing in the trees in midsummer", Du Fu's "Two orioles sing green willows, and a line of egrets fly in the sky", and Zhang's "Egrets fly in front of the Mount Cisse, peach blossoms bloom and mandarin fish are fat". Here, the poet uses egrets to express his desire to fly freely to his old country. And "Looking Back Suddenly" is about the hopeless feeling of the poet kissing his hometown land.
The third kind is the partridge. Partridge is also a famous mountain, and its voice is mournful and tragic, like a cloud "inseparable from my brother". For example, Xin Qiji's "Bodhisattva River Jujube Mouth Pen" concludes: "The river is worried at night, and the mountains are deep." In a gloomy and melancholy atmosphere, waves of partridges suddenly came from the depths of the chaotic mountains, just like the cries of compatriots in the Central Plains on the other side of the mountains, which evoked the author's full loyalty and anger at the unpaid cause, echoing the first sentence, "How many pedestrians shed tears in the middle of the fishing drum platform", strongly expressing the author's grief and indignation that he could not return to the south. Here, the poet makes himself "red-eyed and full of blood" with a partridge that sings with fire, expressing his feelings of boiling inside, heartbroken, and lung and intestine splitting when he looks back at his old country.
Poetry crosses history and reality through three images, which not only expresses the poet's homesickness, but also increases the historical depth of this feeling.
Secondly, it is reasonable in language: the poet especially uses the extraordinary collocation of some languages to create a novel and strong stimulus, leaving readers room for aftertaste. When the poet vaguely saw the mountains and rivers of his old country through the dense fog, his palms began to sweat. "Homesickness has expanded dozens of times in the telescope and dispersed like the wind." Invisible "homesickness" unfolds with a tangible telescope, writing out the breadth and depth of homesickness, while "spreading like the wind" writes out the chaos and inextricability of homesickness. However, when the distance is adjusted to a heart-beating level/a distant mountain flies head-on/hits me with serious internal injuries, he writes out his present with a heart-beating distance, approaches my village and meets people's psychology, and the distant mountain hits me with internal injuries. The conclusion that "when the rain turns the vast land into a blue language" has a fresh and refined effect through synaesthesia. The treatment of these languages not only adds poetry, but also reflects the author's heavy and bitter feelings.
A leap in expressive techniques with rich language;
One is contrast. During his visit to his hometown, the author vividly showed the poet's deep sadness from excitement, joy to final despair when he saw his hometown, and set off his sadness with joy.
The second is Lenovo. In the third section of the poem, the author connects the cuckoo with the cuckoo, and then with the story of the cuckoo crying blood, so that the images overlap three times, which is interesting and meaningful.
The third is imagination. Starting from homesickness, the author imagined that he heard the accent of his hometown (the vernal equinox/Tomb-Sweeping Day is not far away), saw the scenery of his hometown (when the rain turned the vast land into a blue language), reached out and touched the land of his hometown, and finally returned to reality from imagination, which soaked the poet's deep homesickness.
To sum up, the unique image, novel language and complex skills in The Border of Love's Homecoming express the poet's strong homesickness, which stands out from countless homesick poems in ancient and modern times and gives readers a brand-new feeling.