Love chose the word "eternal hatred" in the title word for word, which not only showed love's confidence that the new poetry technology can compete with classical poetry, but also showed the effect of putting the word "eternal hatred" in the title of poetry from the perspective of specific operation technology of poetry, similar to the "allusions" technique in China's classical poetry. Some people say that the allusions in China's classical poems, like flickering candlelight, make short poems or poem lamps as bright and radiate far-reaching brilliance and background. Therefore, under the background provided by Bai Juyi, love can completely express and interpret this legend.
It is precisely because this white poem forms the background of Alice Li that love does not need to be reinterpreted in the new poem. It is precisely by grasping the two images of "water" and "black hair" that he runs through the whole article with the continuous development, variation and interweaving of these two images, and deduces several dramatic scenes of sex and love between Li Yang to the extreme, showing a kind of absurdity and nothingness of modern people. Modern political life and ancient court life, bed battle and Jiangshan battle, collided side by side and satirized each other, pointing to the absurdity of human nature and the criticism of "kings"
On July 7,
Venue: Palace of Eternal Life.
The first two sentences of Alice Li's last poem are transformed from Bai Juyi's "On the seventh day of July, in the Palace of Eternal Life", which seems unremarkable. In the structure of the poem, it obviously narrowed the stage background of Bai poetry, brought the feelings that had jumped high in Love's poems back to a solid table, and extended the previous periods of almost spasmodic despair to time and space, giving readers a chance to breathe, and the poet seemed to come out of it. So, at this moment, what poets and readers see together is:
A tall and thin young man,
A woman with no face.
These two sentences seem to bring the reader into the scene of "we secretly tell each other in the quiet midnight world" in the white poem, and both of them issued the grand wish of "May we fly in the sky, may two birds be one, and may we bury branches underground". In the initial romantic plot, love wrote a cold and horrible breath that penetrated into the bone marrow: the "thinness" of young men and the "facelessness" of women. These two people must have suffered a lot. What kind of mood will they have when they meet?
A pair of wings,
Another pair of wings.
Flying into the moonlight outside the temple.
This string of poems is a modern satire on "how we wish to fly in heaven, and two birds use one wing". The poetic context before the connection, the language effect of these lines and the queuing impression of the word "you" all suggest to us that such a tragic story does not only belong to Li Yang and their Tang Dynasty.
Therefore, this is why we say that the second half of this poem, in an absurd background, uses the form of modern poetry to interpret Li Yang's love tragedy and the loneliness and despair of survivors to the extreme.
6. When realism meets surrealism, love shows more realism and political color.
Bai Juyi is a realistic poet, who advocates that "articles should be written in time and poems should be written in things", so Song of Eternal Sorrow is still allegorical, but the reality of love is stronger than Bai Juyi's.
Alice Li's description of love "The two rivers are still burning" was once called "the courage to connect the body with the historical theme" by critics. Perhaps we think that Alice Li's description is too explicit compared with "Clouds are blooming, flowers are crumbling, and the Spring Festival Evening is covered by the warm curtain of hibiscus". Once we understand the author's writing intention, this erotic thing can also be regarded as an expression, but it only explains a kind of heaviness in banter and unruly.
Love's Song of Eternal Sorrow was written in the middle and late period of the Cultural Revolution. Like other contemporary literary genres, the unity of mainstream consciousness and public opinion has created a unified view of poetry, emphasizing the role of "the horn of the times" and the lyric style of "the pattern of self", which has suppressed or even lost more personalized emotional expression and artistry. After the Cultural Revolution, the rising star's spirit of resistance and criticism revived, with distinct feelings of social, political and life intervention, political lyric poetry style, and clarity and passion of traditional lyric poetry.
Poetry from 1950s to 1970s inherited the tradition of May 4th vernacular poetry, and at the same time, inherited and sublated this poetic style. Love was a surrealist poet in his early years, and his expression was almost magical, so he was praised as "the poet demon" by the poetry circle. The Selected Works of Ten Contemporary Poets in China published by Taiwan Province Province commented as follows: "From bright to difficult, from difficult to bright, love shows amazing resilience in the pursuit of self-denial and affirmation. His tempering of language, the creation of images and the exploration of realistic surreal poetry have laid his unique style. His world is vast, his thoughts are profound, and his expression is complex and changeable, which may be unparalleled.
In contrast, the poetic expression of classical poetry is very euphemistic, the language is implicit, the meaning is concentrated, and a lot of allusions are used.
7. Summary: The influence of western poetics and classical poetry on modern poetry creation, and the beneficial attempts of modern poets.