It is not a simple addition, but a creation that organizes several single shots and several simple descriptions in a certain structural way, which will create a brand-new thing in generate. These new things not only come from the overall effect of the structure, but also are the result of readers' positive thinking in appreciation. Because exploring meaning is an instinct of human consciousness, it is impossible for the audience to accept some written arrangements without thinking. Clever structure can give readers inspiration and hints, so that readers can experience something more profound and subtle than what is literally said.
The poem "Broken Chapter" fully shows the poet's superb structural skills. The poem has four lines and is divided into two paragraphs, just like two sets of shots juxtaposed together.
Scene 1: "You are standing on the bridge watching the scenery". Scene 2: "The people watching the scenery are watching you upstairs". These two scenes are common scenes in life, and they are just a positive narrative, telling readers a state that is difficult to understand. Now put these two shots together to form a set of parallel montages, and the situation is completely different.
In the first shot, "you" is the main body to see the scenery, but in the second shot, this "you" has become the object to be seen by others. This seamless transformation of the position of subject and object implies the universality of relativity in the universe. Things are in a certain state, always conditional, temporary and limited; If we compare things with different references from different angles, we can draw different conclusions about things in the same state. This emphasis on the relativity of things, as long as it is not pushed to extremes and divorced from the absoluteness of things, leads to relativism, which is still conducive to breaking people's isolated, static and unchanging metaphysical way of thinking about problems.
Scene 3: "The bright moon decorated your window". Scene 4: "You decorate other people's dreams". This constitutes another set of juxtaposition montages, which strengthens the philosophical relativity of the previous set of shots. But if you look closely, this group of shots is slightly different from the first group of shots. The first group of juxtaposed two shots are concrete things that can be directly felt. The second group, shot 3: "The bright moon decorated your window", still figurative. As for the fourth shot: "You decorate other people's dreams", it can only be developed from imagination. It is empty, which gives readers more room for appreciation. Mr. Li Jianwu attaches great importance to the word "decoration" and thinks it is "the poet's explanation of life". "Poetry is superficial and indifferent, but there is endless sadness buried in the darkness" (Fish Collection-Written by Mr. Bian).
In his defense article, Mr. Bian Zhilin said: "I don't pay much attention to the meaning of' decoration', just like the phrase' the bright moon decorated your window/you decorated other people's dreams' in Broken Chapters, I also mean focusing on' relativity'." What about Mr. Li Jianwu's explanation and Mr. Bian's defense? The profound meaning of excellent poetry is endless. Because all excellent poems are not flat, but have multiple levels, and these different levels are intertwined and refracted, so that poems derive different meanings. Just as an equation has infinitely many solutions, each solution is owned by the equation itself, not out of the pure subjective imagination of the solver. At the same time, this endless nature can only be shown in readers' aesthetic activities. Different readers will have different aesthetic expectations when reading the same poem because of their different living environment, cultural traditions, artistic concepts and appreciation moods, so they will have completely different poetry discoveries.
In this way, of course, we should pay attention to Mr. Bian's confession to Zhi Lin. We interpret the theme of this poem as expressing a philosophical concept of "relativity", which is a full consideration of Mr. Bian's confession. So can the understanding of this poem be different from that of the poet? Of course. The author is not necessarily, and neither are the readers. Mr. Li Jianwu realized the "untold sadness" contained in the poem through the two ornaments in the poem, and he could have his own freedom as much as possible. As Mr. Li Jianwu declared: "Can the poet's explanation drive out mine or any other explanation? Don't! A thousand. Don't! The happy person is me, because I have double experiences, and the interweaving of experiences makes my life profound. Poets can't stop readers. This is the beauty of this poem. "