When I was a child,
Homesickness is a small stamp,
I'm at this end,
Mom is over there.
When I grow up,
Homesickness is a narrow ticket,
I'm at this end,
The bride is over there.
Later,
Homesickness is a short grave,
I'm outside,
Mom's inside.
now
Homesickness is a shallow strait,
I'm at this end,
The mainland is over there
This poem uses stamps, boat tickets, graves and straits to concretize the abstract homesickness and turn it into tangible things, expressing the author's strong desire for family reunion and reunification of the motherland, as well as his strong yearning for his hometown.
This poem is full of deep affection, which not only yearns for the reunification of the motherland, but also describes homesickness incisively and vividly. Just as many rivers in China are tributaries of the Yellow River and the Yangtze River, although Yu Guangzhong lives on an isolated island, as a China poet who loves the motherland and its cultural traditions, his homesickness poems inherit the traditional national feelings in China's classical poems from the inner feelings, and have a profound sense of history and nationality. At the same time, Taiwan Province Province and the mainland were artificially isolated for a long time and drifted to Qian Qian Island. As a contemporary poet who has been away from the mainland for more than 30 years, Yu Guangzhong's works are bound to be deeply branded by the times. The poem "Homesickness" focuses on personal experiences in the mainland. A stamp in that period of youth, a boat ticket in that period of youth, and even a grave in the future all contain the poet's yearning for thousands of overseas travelers, and all these are sublimated to a new height at the end of the poem: "Now/homesickness is a shallow strait/I am here/the mainland is there." For example, a hundred rivers run to the East China Sea, and a thousand peaks run to Mount Tai. The poet's personal joys and sorrows are integrated with his great love for the motherland and the nation, and the confession of the poet's personal experience is even more inflammatory because of his burning feelings at the end.
Yu Guangzhong, male, 1928, originally from Yongchun, Fujian. My mother was originally from Wujin, Jiangsu, so she also called herself "Jiangnan". 1952 graduated from the Foreign Languages Department of Taiwan Province Provincial University. 1959 Master of Arts, University of Iowa (LOWA). He has taught at Soochow University in Taiwan Province Province, Taiwan Province Normal University, Taiwan Province University and Taiwan Province Political University. During this period, he was invited by the State Council twice and served as a visiting professor in several American universities. 1972 professor and director, department of western languages, Taiwan Province political university. 1974 to 1985 Professor, Chinese Department, The Chinese University of Hong Kong. 65438-0985, he was a professor and lecturer at Sun Yat-sen University in Taiwan, among which he served as dean of the College of Literature and director of the Institute of Foreign Languages for six years.
Yu Guangzhong has been engaged in poetry, prose, criticism and translation all his life, calling himself a "four-dimensional space" for his writing. Today, he has been in the literary world for more than half a century, and he has been widely involved, and is known as "artistic polygamy". His literary career is long and profound, and he is a master of contemporary poetry, an important town of prose, a famous critic and an excellent translator. At present, 2 1 species of poems have been published; Prose collection 1 1 species; 5 kinds of comment sets; 13 translation; * * * More than 40 kinds. His representative works include White Jade Bitter Melon (a collection of poems), Memory as Long as a Railway (a collection of essays) and On the Watershed: A Collection of Comments by Yu Guangzhong (a collection of comments).