In the first 13 lines of this poem, the poet denies the traditional view of love with six images: climbing Campbell flowers, spoony birds, fountains, dangerous peaks, sunshine and spring rain; 14 ~ 36 lines positively express their ideal view of love.
Through the artistic technique of overall symbol and the inner monologue from "kapok" to "oak tree", the whole poem enthusiastically and frankly sings his own personality ideal and love view, which requires standing shoulder to shoulder, independence and affection. The composition and syntax of poetry have been carefully arranged, so that lyricism and discussion are naturally integrated, and the rich and delicate feelings are given a rational luster.
Extended data:
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At the beginning of this poem, two hypotheses and six negative metaphors are used to express her love view: she doesn't want to climb on the other side and show off her vanity by the other side's prosperity; I don't want to drown in each other's indifferent shadows and sing unrequited love songs alone.
As a woman, she should be affectionate and considerate by default, but she thinks that she can't just stay in this state; She admits that bedding and foil can make each other's image more prominent and powerful, but she still feels that this does not represent the whole of love.
For each other, I want to dedicate the warmth like "sunshine" and pour out the affection like "spring rain". But she was not satisfied with these: "No, these are not enough! I must be a kapok beside you, standing with you in the image of a tree. " The poet made it clear that she must stand in the same position as the other party-you are a tree, I must be a tree, and it is an equally tall and straight tree; You stand, I must stand, equally between heaven and earth.