In what ways does Maybe reflect Wen Yiduo's theory of "three beauties" in his poems?

The six stanzas of the original poem * * * were cut into four stanzas when the stagnant water was included, which became more refined and compact. This poem was a sensation at that time because of its novel image, distinct rhythm and deep feelings, and it is still loved by many readers and has high aesthetic value. "Maybe" has four sections, each with four sentences and nine words. Every sentence, two or four rhymes, and the lines are orderly and even. In particular, the author only uses a full stop at the end of the poem, without a full stop, and there is no other symbol that plays the role of a full stop, which is unique in stagnant water. It emphasizes the integrity of poetry. Under the strong emotional impact, the poet wrote this sad mourning work in one go. In Maybe, the poet's emotion is tragic and vigorous, like underground magma, rushing away and ready to erupt at any time. However, poets with increasingly profound thoughts and repeatedly tempered art skillfully control this passion, which is deeply contained in every word and group of images and becomes the inner core strength of poetry. In terms of language, the poet adopted a cold treatment method, which greatly compressed his feelings and became more solid and heroic. "Maybe you are really tired from crying,/Maybe, maybe you need to sleep,/Then tell the nighthawk not to cough,/Frogs don't howl, bats don't fly," repressed grief and gentle and diluted questions seemed so heartbreaking. The vibrant nature is in sharp contrast with the unfortunate girl, and a huge emotional shock wave flies out of the calm words and hits the readers directly. In the second section, the poet further calls for the peace on the other side for this unfortunate girl with deep love. "Don't let the sunshine catch your eyes" and "sunshine" are used very accurately and precisely, which vividly reflect the calm and silent form of the deceased in the dark, and at the same time, they are in harmony with the following "breeze", which together constitute a symbol of infinite vitality in nature. The sunshine caresses the eyes and the breeze caresses the eyebrows. This novel and unique personification technique not only vividly depicts death, but also hides the cruelty of death behind words, and only sets out the real painful realm of death with superficial vitality. The third section reveals the theme of the whole poem, and it is also the climax of the poet's art and emotion. The first two sentences of the stanza personify death again and point the sharp pen at the society that caused this unfortunate death. The poet used vivid imagination such as "earthworms turning mud" and "roots absorbing water" to imagine the joy of underground girls. Happiness is not in life, but in death. Beauty is not on earth, but underground. Ordinary language implies extraordinary significance and decisively curses that inhuman society. The last two sentences are even more straightforward. The voice of curse is also a world full of ugliness and sin. This is the relentless exposure and challenge of the voice of justice to the dark society. At this time, the poetry has already surpassed the sadness of girls and has universal progressive significance. The fourth section is a poetic summary of the three sections, like a small repetition of a perfect movement, which makes the poetry more full. Let the poetry vent more freely, so the structure of the whole poem forms an organic whole, which is mobile, stable and self-sufficient. Perhaps is a masterpiece in Dead Water and an outstanding embodiment of Wen Yiduo's poetry creation. Sentences are neat, reflecting the beauty of structure, rich images, reflecting the beauty of painting, rhyming and reminding the beauty of music.