Yu Guangzhong's poetics not only advocates absorbing western cultural resources, but also opposes modern diseases and vicious westernization; It not only advocates breaking idols and rebelling against traditions, but also emphasizes the vertical inheritance and development of traditions. China's modern poetry stands in China, and China's modern poetry should go to China through the modernization of China's poetry. At the same time, China's modern poetry should be transcendent, representing China's poetry in art, not just China's new poetry. It should be said that this poem does point out the theme of "homesickness" at the end. If you just look at the previous poem, even many people will regard it as a love poem, and it is also a humorous and relaxed love poem, because the poet mixed elements of modernism with classicism. For example, when the poet thought of so many cousins passing by Liu Di, he suddenly said, "I can only marry one of them." It looked extremely disappointed and depressed, but it was really a child's mind. In fact, the modernist techniques in this poem are mostly used in the description of Jiangnan. After creating an antique and dreamy Jiangnan for readers, the poet suddenly added words such as "You can go back from Keelung Port", "It takes three hours to fly from Songshan" and "Jiangnan with three hours of clouds", which broke the time and space distance between Taiwan Province Province and Jiangnan and deconstructed the poem itself. This technique may not be liked by many readers, who think it destroys the artistic conception of the poem itself, but in the last section, the poet's intention is completely revealed. Such a fascinating Jiangnan, and it can be returned from Keelung Port, and it only takes three hours to arrive. For the author, it is actually "standing in Keelung Port, thinking-thinking, thinking about going back, not going back". The short Bay Strait has become an insurmountable natural barrier, and the actual contradiction has been exposed to the fullest through a few words of approximate ridicule. This is a typical western-style black humor. At the same time, it is through these contradictions that the poet conveys his painful homesickness to us. The combination of "Jiangnan, Jiangnan, Jiangnan with many temples, Jiangnan with many pavilions, Jiangnan with many kites and Jiangnan with many bells" makes us seem to see the poet standing in the port facing the mainland, screaming for homesickness. Later, the poet's inner monologue was added: "Standing in Keelung Port, I think-I think I can't go back if I want to." The word thinking, with a dash in the middle, vividly shows the poet's extreme inner desire and the sadness that his desire cannot be realized. Only by reading this can we truly understand the poet's intention of self-deconstruction.
Yu Guangzhong himself once said that if there is no vicissitudes and only pure distance, then homesickness is thin. In this poem, we can see that Yu Guangzhong did not simply tell his homesickness, but expressed it in various ways, such as being there and feeling in it. From the mountains and rivers, natural landscapes and human history of the old country, the poet saw his childhood and middle age, and he deeply realized that it was not the three-hour journey that kept him away from his hometown, but the elapsed time and other factors. It is this kind of vicissitudes that makes Yu Guangzhong's homesickness reveal the profound connotation of thousands of years' history, and makes this poem "Thinking of Me in Spring" more impressive than other homesick poems, making it a wonderful flower in Taiwan Province Province's homesickness poetry library.