This paper appreciates Mr. Mu Xin's favorite poem "Once Slow" from three aspects: natural acoustics, image feast and wise paradox, hoping to see the value of Mr. Mu Xin's creation as a posthumous child of the May 4th culture to contemporary literary circles. Keywords: wood heart; It used to be slow; Sound; Image; Paradox Mu Xin has been wandering for half his life-from Wuzhen to Shanghai, from Shanghai to new york, and then from new york to his hometown. It can be said that for Mr. Mu Xin, literature is "homesickness after a walk". The poem "It used to be slow" was written by Mr. Mu Xin during his trip. After reading this poem, we will feel that during the journey, the exhausted old man sat in the coffee shop and looked at the people walking outside the window. The door of gilded memory slowly opens, and colorful life is taken out of context. First, Mr. Mu Xin, born with beauty, is called "the' posthumous child' of the May 4th culture". The differences between modern poetry and classical poetry, which originated in the May 4th period, lie in: the innovation of poetry content; Innovation of spiritual connotation of poetry; Innovation of poetic expression. The poetry creation of vernacular poetry school, crescent school, modernism school and obscure poetry school makes modern poetry become the mainstream of modern and contemporary poetry creation. Mu Xin's poetry creation is an exploration and attempt of modern poetry to some extent. Perhaps the "natural poetry" advocated by Lin Geng, who was contemporary with Mu Xin, coincides with Mu Xin's poetry creation. Lin Geng pointed out in his Poetry and Free Poetry: "Free Poetry is like a soldier rushing to the front. On the one hand, he got rid of the shackles of old poems, on the other hand, he grasped some new progress; ..... So the representative work of natural poetry is' coming back like a face'. However, if a form can be familiar to everyone, it must be easy to get familiar with besides walking more. Therefore, when it comes to "law", the harmony of "rhyme" is necessary. " The first time I read Mu Xin's poem Once Slow, I felt deja vu. After tasting it slowly, you will find that the rhyme of this poem is very harmonious, like a "natural voice", which can be called a masterpiece of "natural poetry". The use of two-syllable rhymes makes the voice of poetry soothing and melodious, such as recalling/earlier/teenager/being everyone/sincere/sincere/saying/yes/sentence, which is the same as the rhyme of earlier teenagers and has a sense of repetition; Everyone is a rhyming word, sincere and sincere about a two-syllable rhyming word, which is interesting to read; The repetition of the word "one sentence" has a sense of emphasis, and the intonation is slow and long, which slows down the rhythm of the whole poem and sets a slightly sad nostalgia for the whole poem. This continuous sound conforms to the natural process of memory. The choice of poetic rhyme is also based on nature. "I" rhyme, "iu" rhyme, "e" rhyme and nasal vowel (en/eng/an/ang) are widely used in short poems. Recalling writing is retrospective writing, and the process is naturally slow. The rhymes of "I", "iu" and "E" are mostly plaintive sounds in the rhyme of classical poems, which are often used to express sadness or peaceful artistic conception, such as Wang Wei's Red Bean, "Bamboo House" and He's "Two Hometown Couples". As a compound vowel, nasal vowel (en\eng\an\ang) is pronounced slowly, and its sound effect is longer because of its lower pronunciation position. For example, the title of the poem is slow before, and all three words are nasal. From the back nasal sound ong to the front nasal sound An, the sound effect naturally slows down after reading the title of the poem, which is natural. However, the rhymes of "I", "iu" and "E" are weak, and nasal vowels (en/eng/an/ang) are loud. Using these rhymes, not only the acoustic effect of the whole poem is naturally slow as an elder said, but also the acoustic effect of the whole poem "will be in my heart" —— Comment on Mu Xin's Once Slow.
(Nanning, Guangxi University, Guangxi 530004) Whether it is the new Lu Jun who insists on "moral idealism" or the new generation of "Lu Jun Sharp" with traditional moral genes, they are relatively late in modernization and pioneering methods, and may be unanimously called conservative or even "conservative". This is actually a misunderstanding, and there is even a wrong cognition that writing morality and writing positive images is to carry forward the main theme. Shandong writers who adhered to "moral idealism" in the 1980s resisted the passing of traditional civilization and the disappearance of honesty and etiquette with persistent persistence. However, in the second decade of 2 1 century, the disadvantages of the decline and loss of traditional morality gradually emerged. At this time, lujun's cutting-edge works in the literary world put forward the topic of what we should do after the moral decline. Some choose to return to tradition and return to the countryside (Dong Zi's Singing in the Building), some choose to close themselves and resist with their fragile strength (Dong Zi's Left and Right, Zong Lihua's Grass in the Cage), and some choose to construct an ideal and moral "Peach Blossom Garden" (Emma's Laishui Town series novels). The literary army has made unremitting efforts and explorations on writers' spiritual consciousness and humanistic feelings. Thirdly, in the entanglement of truth, goodness and evil, the tension space of moral narrative often comes from customs or traditions, which have evolved into "universal values" that restrict people's behavior in some time periods. However, not all people always demand themselves according to such universal values or strict moral standards. Driven by survival instinct or some interests, people are selectively implementing these standards. The degree of realization determines a person's external quality, which is virtue in popular terms, and its essence should be the confrontation and confrontation between human nature and the so-called "divinity". This choice is difficult. Just like Li Shouzhi in Dong Zi's novel Singing in the Building, how to deal with the "ten thousand yuan found" is the same. Without this money, her daughter can come to school in the city. Only by paying back the money can she live up to her conscience and live an aboveboard life. Li Shouzhi chose the latter, and here we see the return of lofty humanity. In Emma's novel Six Chapters of a Floating Life, Xinmi blindfolded the pig before killing it. This kind of pity for animals is the realistic concern of compassion and compassion in human nature. The moral writing of young writers in Shandong, such as Dongzi and Emma, shows this characteristic. They don't demand and judge the narrative object by some moral standard, but pay attention to finding the bright or dark shining light in human nature through the description and care of life details and individual experiences. Where does humanity begin and where does it repair? There are two human tendencies lurking in everyone's heart: sinking and rising. These two human tendencies are intertwined in the process of life development, transformed into various behavior choices, and become the distinction between morality and quality. The "morality" in the works of lujun's Blade starts from here, goes deep into the complex interweaving and dilemma of good and evil of human nature, and shows the "moral narrative" without judgment as the premise. Criticize the narrative object strictly with certain moral standards, without preconceptions and condescension, and do not give up the pursuit of individuality and transcendence of moral life, and re-examine and understand human nature with the modern mission of reorganizing life beliefs, warming human nature and reshaping human nature. Writer Zhang Wei once said: How can I be quiet when I see all this? As the saying goes, morality is a level of social life, and there are many moral factors, but morality cannot be tolerated. The moral narrative of literary Lu Jun pays attention to the deep space and tragedy of individual life by telling the story of modern individual life, which is much richer and deeper than abstract rational ethics, so it is easier to go deep into the complex interweaving and dilemma of good and evil in the field of human morality. Lu Junxin sticks to the genetic gene of traditional morality and goes deep into the human origin of urban life. If the thinking about reality and rural issues only comes down to the moral level, it will weaken the tension space of novel content, put moral thinking into the depth of human nature, deeply analyze human nature and psychological connotation, dig out things outside the story, put moral concerns outside the story, and think and reflect on moral topics from a larger pattern, which should also be the creative space that "the cutting-edge Lu Jun" writers strive to expand.