The four chapters of Farewell Now are Huang Zunxian's Casting New Ideals into the Old Style (Liang Qichao's language) and "Being able to confess what is in front of you and directly use the name in front of you" (Xia Jingguan's language), which is a model of poetic experiment. "Today's Parting" recites Cui Lao's title four times with Yuefu miscellaneous songs, with a simple style and Gu Zhuo style, but the content is to write some new things about western industrial civilization at the end of last century, reciting ships, trains, telegrams, photos and the day and night in the eastern and western hemispheres of the earth. Among them, the most cited is the first chapter. His experiment is effective, and those things of modern civilization that are considered to lack traditional charm are properly embedded in the old framework of ancient interest by the poet. His job is only to prove that it is possible for old poems to express modern things. He didn't try to explain that old poems should be cancelled or replaced. This also shows that a group of advocates and practitioners of the "poetic revolution" have a rather weak "revolutionary" nature. Huang Zunxian's Farewell to Today inadvertently conveyed a brand-new message to us, that is, the freshness of an intellectual living in a feudal agricultural society and the lack of expression he faced when dealing with these feelings. As an intellectual elite trained by this traditional culture, Huang Zunxian has strong adaptability. Because of his familiarity with China's traditional poems, he skillfully used his familiar skills to properly handle the current novelty. This is the old and new parting we are reading at the moment. When China first came into contact with the intellectuals of western civilization, when he stood in the last sun of the19th century and faced the behemoths such as ships and trains spewing white smoke, he was first shocked by its incredible speed and strength. The word "don't" is often used in poetry, but Huang Zunxian wrote at the beginning of this poem: "Don't turn like a wheel", which is quite innovative in linking the traditional artistic conception with the wheel rotation of a train. In the past, the poet wrote "10,000 weeks a day", but now it is "10,000 weeks in an instant", which is a vivid description of modern speed, which is not available in traditional poetry. Such poems suddenly broke the traditional concept of time and space, broadened people's horizons and changed people's thinking. Huang Zunxian's thought of poetry reform is to express new ideas with ancient methods as much as possible. This concept is new, but it is still incomplete from the standpoint of protecting the old law. But the result of its practice has created a different realm; The realm of China's traditional poetry is static, time is constant, and day and night are fixed. This artistic conception collapsed under the attack of modern science. The bitterness of life's parting invisibly adds new sadness in this chapter "Parting Today" ―― even the missing in the dream soul is hard to understand, because not only people are separated, but also "day and night run counter to each other". How can we be together? This is a modern poem. Isn't it exciting that modern poetry has finally entered ancient poetry angrily? Therefore, although Huang Zunxian's poetic views of "I write my mouth by hand" and "Today's people don't have to be the same as the ancients" are not thorough, and there is still a long gap between Huang Zunxian and the new poems after the Yuan Dynasty, his "invasion" of the classics with "new ideals" and "new ideas" is unprecedented and he is indispensable. Speaking of Huang Zunxian's contribution to the reform of poetry, naturally, as an old poet, his rich experience and rich scientific knowledge broadened the connotation of classical poetry and helped art. Huang Zunxian was the first generation of China's last feudal dynasty to understand the western world. His profound knowledge and rich experience were rare at that time. He has been to Japan and Singapore in the east and Britain and America in the west. During his mission to various countries, he stayed at sea many times and visited many countries by the way. As far as old poetry is concerned, he undoubtedly brought many unprecedented figures and common sense to it, which is an invisible and powerful impact on the expansion and even renewal of the artistic conception of old poetry. This is not only a shock, but also a huge shock, an unannounced change. "It's enough for me to travel around the world less and meet wonders. When I write a poem, my pen is superb enough to achieve its purpose. Zi Mei's poetry anthology is unprecedented in ancient and modern poets, which is Xu Shichang's affirmation that his poems can be full of "wonders". There are many such comments, and this is really outstanding as far as Huang Zunxian's creation is concerned. His works greatly broaden the connotation of China's old poems. People who used to think that some things were not suitable for poetry are now treated appropriately in his works, which is his contribution that cannot be ignored. He broadened the new territory of old poetry, or he discovered a new world of traditional poetry. In this sense, it is no exaggeration that he is Columbus of China.
The rhyme and sentence meaning of this poem are all influenced by Meng Jiao's Car Shaking in the Tang Dynasty, but the poet's feelings are completely different from the feelings of parting written in classical poems, but infiltrated into a modern experience. It is true that this poem is obviously influenced by Meng Jiao's Car Yao Yao. It is not only a painful description of the parting of men and women, but also a lyrical carrier that is different from ships and cars. However, Huang Zunxian's feelings are different from those of Meng Jiao. The life experience in Farewell Now is a symbol of the times, that is, a kind of modernity. The symbol of this era, or modernity, has a different space-time pattern from classical poetry. In Huang Zunxian's Parting Now, there are both ancient and modern differences and differences between China and the West.