The so-called "prototype" is the central term often used by the western "myth-prototype" criticism school, or "myth prototype". Broadly speaking, expanding the scope refers to the images that are typical and used repeatedly or appear in literary works, as well as the image combination structure-it can be the reproduction or evolution of ancient myth patterns, or it can be the images or image combination structure with special symbolic significance that are commonly used by writers and poets.
Xu Zhimo's "Live These Days" is not difficult, and its "prototype" is not difficult to find. Reading this poem, it is easy to think of Cui Hu's masterpiece "Chengnan Zhuang" in the Tang Dynasty: "Last year, this door/face peach blossoms set each other off/I don't know where to go/peach blossoms are still smiling in the spring breeze." I have the intention to find another "face", but I still take time and feel sad. This narrative structure of "pursuing something with beautiful ideals, but not seeing it, can only be idle and melancholy" has been repeated in China's classical poems, almost becoming a prototype.
This poem by Xu Zhimo is a dramatic narrative poem. Poetry contains the dramatic structure praised by the new criticism. The whole poem is like a drama with strict and complete structure, with time, prologue, plot unfolding, contradictory confrontation and dramatic dialogue, tragic ending and the end of a paragraph (monologue). At first, Shan Yu, misty, Yun Fei ... seemed to be a distant scene in the film, which unexpectedly induced readers (following the "I" in the poem) to be full of interest and high emotional expectations for "visiting Guangxi" (Su Shi's poem). Then pan the camera to the reader's field of vision, showing a series of simple and wild images such as "loose grass", "eaves" and "village girl", so that the picture is "fixed" in the middle and close shot; Next, the "close-up" of the action expression of the "village girl" and the "careful study" of the "village girl" eased Xu's tone of speech unhurriedly and unhurriedly, so that the poetry narrative reflected a gentle and leisurely style-as dignified and profound as the long shot used in the film.
The "osmanthus" in the poem, the object I am looking for, implies a meaning beyond the literal meaning and the plant itself. Specific symbols, readers can only "benevolent see benevolence, wise see wisdom."
If "Gui" is just "Gui", it will not make an ordinary village girl "pretend to be deep" and say a lot of unpredictable "conversations" such as "too late and too early", let alone let "I" visit "Gui" and watch it sad and sigh again and again when I don't meet it. This is actually the poetic language of "all landscape words are sentimental words". In the last sentence of the last section of the poem, the poet also expressed his feelings and made comments (much like the inner monologue of the protagonist in the play), repeatedly stressing that "these days have not been easy! It's not easy to live these days! " Moreover, "These days are not easy" has become the title of the whole poem, which shows the theme of the poem and makes the theme of the poem fall to the level of real life. This is obviously different from most of Xu Zhimo's poems. He always wants to "fly" and escape to "another heaven".
Ancient poets either savored wild interests or went to ancient times to find seclusion. Although they "can't find it" and are idle and melancholy, they often realize that the world is cold and ruined through the ages. They sigh deeply, and their themes often show transcendental intentions. Xu Zhimo started with wild interest and elegance, but ended up with a slightly revealing theme expression of "It's not easy these days" because he directly faced the cruel situation of real life, but his theme orientation shrank to the real level of real life. The difference between metaphysical intention and metaphysical intention, detached theme and attached theme is also caused by the era of life and social environment.