1930 He Qifang, who studied in the preparatory school of Chinese University for one year, was admitted by the Department of Foreign Languages of Tsinghua University and the Philosophy Department of Peking University. This autumn, he entered Tsinghua University to study, but he was soon expelled from school because he didn't have a high school diploma. After a few months in Beijing, he walked into the school gate of Peking University in the autumn of 193 1. The university period from 193 1 to 1935 became a peak of He Qifang's writing. During this period, he created a large number of lyric poems, which were included in the Collection of Jenny von westphalen. Later, he wrote a famous essay "A Perfect Combination of Pearl and Perfectly Matched", and 1934 included it as "Painting Dreams". Every poem and article shows a high artistic imagination and rich image creativity. The young He Qifang successfully created a lyrical and dreamlike literary world.
In the early 1930s, the shadow of the failure of the Great Revolution enveloped the whole country, and Japanese imperialism set foot on the land of Northeast China. However, this wanderer from the south who is addicted to books is still humming his lonely songs in loneliness. "I have created a beautiful, quiet and happy little world for myself, with some soft poems and essays, the decadence of Beiping City as the background, fantasy and youth ... I have written some short poems and essays, hoping that children who are as lonely as me can get a little happiness and comfort from them, just like getting a little candy in a bitter and sour life." (For an ordinary story, see He Qifang's research series, Sichuan Literature and Art Publishing House, 1986, p. 143. 1in the summer of 932, it was the time when he became fascinated with writing poetry. The love with his cousin Yang Yingrui died because of his father's severe opposition, and this unfortunate love was probably the driving force of his creation during this period. But his life circle is so narrow and his personality is so introverted, which determines that his creative source can only be triggered by teenagers' fantasies and books. At Peking University, He Qifang not only read a lot of foreign literary works translated into Chinese, but also directly read English original poems. Later, he fell in love with French symbolism and the "exquisite and enchanting poems" of the late Tang and Five Dynasties: "I like that kind of sharpening, that kind of TINT, that kind of illusion. I like reading some quatrains from the Tang Dynasty. It's like smiling and waving. Even if it expresses meaning, what I appreciate is posture. " (For the road in a dream, see He Qifang's research series, Sichuan Literature and Art Publishing House, 1986, p. 165. ) This makes him show the fusion of China's classical poetry artistic conception and western modern poetry techniques in his own creation. During this period, he believed in the aesthetic view that "literature and art are nothing more than writing about themselves, writing about their own fantasies, feelings and emotions"; "Listen to the language of some wandering hearts" and "capture some images that flash with golden light in an instant". He is obsessed with the pursuit of artistic conception and formal beauty of poetry and the tempering of poetic language. In this way, during this period, he wrote many dazzling and popular love poems, such as "Prediction": "This heartbeat day has finally arrived! /The footsteps of the sighing night are approaching ... "; Autumn (1): "Say I'm ill, I won't answer no ../It's a deep-rooted acacia, a sign of love ..."; Joy: "Tell me, what color is joy? /Like a pigeon's feather wings? Parrot's red mouth? ..... "These love poems are subtle and tactfully colorful, reflecting He Qifang's unique feelings and expressions.
As for the choice of poetic images, The Prophecy, the first book of poetry by young He Qifang, has few social images because of its narrow life circle. This young poet, who once indulged in "those exquisite and charming poems of the late Tang Dynasty and the Five Dynasties", is better at capturing seasons and times like autumn, dusk, moonlit night ... and he also likes the poetic images of water lilies, orchids, eaves rain, flute, wings of pigeons, fallen leaves of poplars, frost on a slab bridge and crows all over the building, which are in the same strain as China's classical poems. The poet combined these images in many ways, showing a lonely and ethereal youth mind. Autumn, like the poems of the same period, still has no social images, but mostly static images of nature and life: dew, glen, Lu Peng, paddle, cricket, flute ... These lonely and dreamy images in sunny days are also common images in China's classical poems. He Qifang uses these familiar static images full of meaning to create a clear, distant and vivid autumn artistic conception.
On the lyrical technique of poetry, He Qifang not only inherited the lyrical method of China's classical poetry, but also absorbed and used the symbolic technique of western modern poetry. This is clearly reflected in his emphasis on the musical beauty of poetry and his extensive use of synaesthesia, suggestion and other techniques, such as the first section: "The morning dew falls and the sound of logging jingles out of the valley." /Put down the sickle full of fragrant rice,/Put rich fruits and vegetables into the bamboo fence with a basket. /A farmer who lives in autumn. "The dawn disclosure and anthropomorphic technique remind people of the lazy yawning in the thin fog in the early morning of autumn; The sound of logging is tinkling, fresh as dew, sonorous and rhythmic, and the autumn melody immediately occupies the reader's heart. The sickle is full of the smell of rice, and this synaesthesia technique reminds people of golden rice fields and farmers' harvest. Here and now, autumn is happy. She comes with dewdrop-like fresh steps and enjoys the joy of harvest with ordinary farmers.
He Qifang pursues an inner sense of rhythm that can arouse readers' emotional vibration and a sense of fluctuation in the poem itself, which makes the poem have a touching musical effect. In this poem, "living in a farmhouse", "playing on a fishing boat" and "a dream in the eyes of a shepherdess" in autumn, the poet's inner feelings of clarity and joy in this autumn are all dissolved in four or three verses. The correspondence of natural stanzas in each poem makes the poet's joyful mood in autumn clearly reflected in the poems with harmonious rhythm but not rigid. This poem is divided into three neat sections. In each section, the poet repeatedly sings the theme of autumn, which is quite similar to the technique of sighing in ancient poetry, forming a musical melody that naturally flows back and forth in the poem. Autumn, from living in a farmhouse, playing on a fishing boat, to the eyes of a shepherdess, seems to be playing an affectionate variation of autumn.
In the short sonnet, He Qifang skillfully uses synaesthesia, suggestion and metaphor to show a vivid, clear and lovely autumn scenery. The unique imagination and metaphor of "the sickle is full of fragrant rice", "the reed is full of frost" and "the flute hole is full of summer nights" communicate people's various sensory functions and make people have rich and free associations. Although He Qifang's poems often use symbolism to express various feelings, his poems do not give people a sense of obscurity. For example, this poem "Autumn" uses images such as dew, valley, reeds, paddles, cricket and flute to render a quiet and far-reaching artistic conception, but the images of every sentence in the poem are distinct. In this way, the whole poem not only makes us feel the poet's vague inner feelings, but also has great room for aftertaste. This is the case with He Qifang's lyric poems. Compared with many straightforward and simple lyricism in the same period, his poems are more enlightening and inclusive, and have more room for aftertaste. At the same time, they are hazy and not obscure. He Qifang successfully combined his unique imagination and metaphor with musicality and the expression of classical poetry, and formed his unique delicate and swaying lyrical personality. Some critics use "dreaming like smoke" to evaluate his poetic style, which shows that his lyrical personality is distinct.