This poem is poetic, vivid and endless. The most distinctive is the three images used in the third section of this poem.
China's allusions to poetry can be traced back to the contending speeches and literary theories in the Spring and Autumn Period and the Warring States Period, and this unique grammar of China has been used to this day. It is "popularized in the Han Dynasty" and "used things are beneficial to the Tang and Song Dynasties, which can be described as reaching the peak". Since modern times, although the western poetic style has promoted the birth, development and traditional variation of China's modern new poetry, the roots of traditional culture cannot be lost.
The word "Dian" is the first creation of Liushahe in Twelve Elephants. It clearly distinguishes between general allusions and allusions that become images. Canon's good use can make poetry shine brilliantly and receive miraculous effects, not only turning Canon into an image; At this time, the poet's emotion and will are generally combined with allusions, not just symbols with canonical meanings. The key to the formation of images in the canon is to make them "practical" and even "careless in pronunciation", or to make pronunciation not only covet the mystery of the image interest of poetry itself, but also "break the canon and go straight to the palace to understand the image interest beyond the image interest, that is, the interest beyond the image." The success of the so-called image-building lies in that it "can give readers two kinds of projections."
The three classics in Bian are "practical" classics.
Canon 1: Rhododendron. "Sick sick/as sick as the withered cuckoo on the hillside/with only one flower left", obviously. It says Rhododendron here, but then again, this kind of flower can "crouch behind the sign of" No Crossing the Border "/hemoptysis", but it attracts people to jump to the animal with the same name: Rhododendron, and then immediately jump to the Rhododendron that looks like the emperor through the Chinese cultural bridge, which can remind tourists of (parting from the sea), three elephant hallucinations, three jumps and elephant superposition. Canon II: Egret. Maybe love really saw "an egret starting from the paddy field/leaping over Shenzhen/suddenly turning back" at that time, but why can't interested readers praise this "egret" as Zhang's "egret" who lives in seclusion in rivers and lakes because of frustration, and Chen Ce's egret bird full of "hate" (or the phrase "egret comes and jumps, who will send it away from hate")? Canon iii: partridge singing. We can also infer from the poem that there was a partridge crying there at that time, and the poet wrote in an exaggerated way, "The pronunciation with fire/the smoky cry/a word/penetrated the cold spring in March/I was burned to my eyes and my blood was boiling", which effectively carved out the poet's homesickness; But maybe we can hear another partridge singing "Don't be a brother" sadly in the depths of history (brother, you can't cross the line! ) ghosting was born, and the image was full of interest.
In fact, the poet secretly used allusions here. Many words, changeable usage, positive or negative, bright or dark, borrowing or metaphor, or ascending, are all turning stone into gold, expressing meaning; Expressive expressions, praise or belittle, anger or resentment, sadness or joy, are all accurate. "The dark use of allusions creates an image outside the poem, making the edge of the poem, the higher the realm, the greater the significance.
From the early 1950s to the late 1970s, due to political and social reasons, Taiwan Province's new poetry has gone through a road from total westernization to nationalization and localization. During this period, the poetry circles in Taiwan Province Province were surging, and internal disputes were in full swing. Modern poetry school has sprung up suddenly, proposing that "new poetry is a horizontal transplant, not a vertical inheritance" and advocating that poetry is "cosmopolitan, surreal, original and pure". This is a road that deviates from China's traditional culture and is "totally westernized", which has led to a long-standing heated debate between "modernization" and "westernization" of poetry in Taiwan Province Province. Therefore, the new poetry in Taiwan Province Province has changed from "new poetry" to "new poetry"
Yu Guangzhong and Luo Fu, as the two leading figures of the modern poetry school in Taiwan Province, have also taken a road from "total westernization" to returning to tradition in poetry theory and practice; When Taiwan Province Province's new poetry fell into the dilemma of "betraying the masses and alienating relatives" in reality, they had to reflect and try to absorb the quality of poetry from traditional culture for the survival and development of new poetry. Yu Guangzhong has made great achievements in absorbing and applying China traditional culture, calling himself a "neoclassical poet". Love has also found a new way of self-expression in traditional cultural classics, and his artistic life has also been reborn. The application of three icons in Edge is a particularly good example.