Period of metrical poetry
(1949- 1956) is represented by ship elegy, blue feather and paradise night market. Most chapters are two or three paragraphs, each with four lines, and two or four sentences rhyme.
The gestation period of modernization
(1957- 1958) is represented by stalactites and Xiluoqiao in the second half. Start to derive long and short sentences.
The modernization period of studying in the United States
(1958- 1959) is represented by Halloween. Writing training and art courses at the University of Iowa stimulated Yu Guangzhong's contact with modern art and generally absorbed western music. His works tend to be abstract.
Nihilia period
(1960- 196 1) is represented by Sirius and the first half of Wuling teenagers. Yu Guangzhong in this period created the illusion of a hero in the melancholy pallor of westernization, and could not ask for warmth from tradition. In his works, he often shows his universal mourning for the last days, but he can't break away from tradition all the time, but has a "sense of vacuum". Sirius not only reflects the helplessness and emptiness of individuals or poets, but also reflects a culture and nation's suspicion of tradition and accepting external shocks.
Neoclassical period
(196 1- 1963) is represented by the second half of Wuling Junior and the Lotus Association. The Legend of Lotus has pushed the lyrical tradition of China literature to another peak in the mutual interpretation of literature and vernacular, the comparison between single-track syntax and double-track syntax, and the changes of neat paragraphs and irregular branches.
Back to modern China.
(1965- 1969) is represented by knocking music and in the cold war years. Self-analysis, metaphysical theme, double-sided exploration of the same theme, and interaction between sex and war are all profound. Skills and thinking reach their peak.
Folk custom period
(1970- 1974) is represented by white jade bitter gourd. The work absorbs the romantic spirit of rock music and faces the present reality with the national consciousness of returning to the native land. At this stage, Yu Guangzhong also got rid of the confusion of "who am I", promised to be a "night watchman" and expected himself to achieve eternal poetry through the suffering of life.
Historical and cultural exploration period
(1974- 198 1) represented by Tug of War with Eternity and Guanyin on the other side, poetry gradually became more intellectual than emotional, and tended to be natural rather than deliberately forging words.
The realistic autumn harvest period is painful and proves life.
(198 1 later) is represented by five elements and tall buildings facing the sea. During this period, Yu Guangzhong not only sang the family ethics, satirized the soul of the Han Dynasty, and understood the mystery of life and death, but also multiplied the regional homesickness with the vicissitudes of culture, from the romantic nostalgia in his early years to the injury in reality now, becoming a whisper.