The first two sentences of the first paragraph are metaphors, but both sentences omit the noumenon "worry". If the expression is complete, the meaning of the first two sentences is probably: some people think that trouble is like the sadness of lonely autumn, while others think that trouble is like the acacia between people separated by the sea.
The last two sentences give specific answers: the author's "worry" and "thinking" are caused by his "worry" in his heart, and the reason for "worry" is the reason of "dare not say your name" and "dare not say your name". Regardless of life experience, readers can naturally understand that "dare not say" is because there is love in their hearts: they are full of love for you, but they have no courage to say it.
The lyric order of the last paragraph is to describe the forms of "worry" and "thinking" first, and then analyze the reasons step by step; The next paragraph goes on to point out that such "dare" makes you feel "worried". The last two sentences are compared from the perspective of time and space, which shows that your "lovesickness" and "sadness" are as far away as facing each other across the sea, and as lonely as being in a cold autumn.
The choice of images is typical, which coincides with the classical aesthetics in China's cultural tradition. Autumn is used to set off sadness and the sea to describe the distance of thinking. Although it is modern poetry, it is full of artistic conception and charm of classical poetry. Therefore, although the first and second paragraphs are only different in the order of the same poem, there is no suspicion of repetition in emotional expression, which is the genius of the author.
This is a love poem, but the word "love" never appears directly in the whole poem, but is euphemistically expressed by "dare not say your name". Implicit beauty is another outstanding feature of this little poem.
Excerpt from the original:
Anxiety and worry
It is said that it is the clear sorrow of lonely autumn, and it is said that it is acacia in the distant sea;
If someone asks me what's on my mind, I dare not say your name.
Extended data:
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On the basis of the melancholy feelings in Dai Wangshu's poems, there are both classical life feelings in his poems. First of all, Dai Wangshu's love poems are obviously influenced by the poets in the late Tang Dynasty in expressing the privacy of love, and they use more female images in expressing love. In a sense, they can even be said to be a modern interpretation of the theme of acacia in Wen and Li's poems.
At the same time, love has become one of the main contents of the poet's life experience, which embodies the modernity of Dai Wangshu's poems. In a word, Dai Wangshu's love experience is modern, and his love characteristics are modern, but the expression he endowed is classical and traditional.
Secondly, the theme of mourning for autumn in Dai Wangshu's poems is deeply influenced by China's classical literature. Poets use the traditional theme of chanting autumn to present the sad feelings of loneliness and youth troubles of modern people, which strengthens the aesthetic tension of poetry. Understanding the consciousness of death hidden behind the theme of sad autumn can better understand the melancholy emotion in poetry.
By analyzing Dai Wangshu's poems such as To the Firefly, we can also find that the poet's death imagination and writing style belong to the typical Taoist cultural system. Finally, the idyllic homesickness and pastoral feelings in Dai Wangshu's poems are a traditional expression of human feelings and have the charm of oriental poetry. The images of wandering and tired travelers are not only influenced by the images of travelers in China's ancient poems, but also the images of dreamers and Nightcrawler are obviously influenced by western symbolism, which constitutes a modern creative motif.
As a poet deeply influenced by Chinese and western literature and culture, Dai Wangshu actively seeks the fusion point of Chinese and western poetry art and creates modern poems belonging to his own nation. Dai Wangshu's experience and practice in the national construction of new poetry inspire modern and contemporary writers: under the background of globalization, the creation of modern new poetry in China should be based on the aesthetic psychological mechanism of national culture, take the national spirit as the soul, absorb the artistic nutrition of foreign literature, and construct the nationality of China literature with the characteristics of the times.