When I love you, you are rust and I am a pigeon. At this time, you become an iron embroidery in love, which can help me digest, but I ate too much. At this time, love will make me unable to digest myself and become an embroidered pigeon. This is an accurate expression of love. I can't stand eating too much.
The original sentence is: I love you, cherry trembles. I love you. Pigeons are rusty. This poem "Magnolia" is from David's new poetry collection "Ripples".
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There are many quantifiers in David's poetic language, and he seems to like "one" especially. There is a figure of "one" in every poem, and a leopard can also be seen from the poems such as "The earth is a word", "One's solar terms" and "One kind, one leaf, one half, one time ...".
Pictographically, "one" is a dash, a horizon, a vast and infinite imagination, and the operational support of "Rose times a hundred equals Magnolia" in his poems. From the word meaning, "one" is the source, "Tao gives birth to one, two, two, three and three things", and one is the source of all things, which is "harmony". However, the sentence structure of "one" ... and the other ... "often appears in his poems, and he uses the rule of" separation and integration "to interpret syntactic blanks, which strengthens the vitality and tension of poetic language.
"White" is the "animal symbol" of David's poems, "I am a man without color" (spring morning). In Ripple, David's preference for the sky, lily and magnolia almost reached the level of spiritual opium, because it has a brilliant white color in the sun.
The use of "white" in his poems can be said to be ubiquitous, such as the intuitive white of objects, the blank of word meaning, the white of jumping distance, the white of unexpected poetry and so on. David gives "white" more colors. David flattered poets and readers with "blank". Faced with the problem of "filling in the blanks" in poetry, he has no "blank" answer. His only criterion is the reader's imagination.