Poets attach great importance to the musical beauty of poetry. "Biekangqiao" consists of seven sections, with six to eight words per line, usually three times per line, different syllables, two to four lines in each section rhyme, each section rhymes naturally, the lines are neat and symmetrical, the tone is cyclic, and the rhyme changes with the mood, which makes the reading cadence, relaxed and fluent, and the rhythm is clear and harmonious, forming a sense of fluency. [ 1]
The poet pursues the realm of "wandering in the light waves of dreams", and his poems are often sung casually, without carving or affectation, and are natural and unrestrained, and they are all finished in one song:
We met in the dark sea,
You have yours, I have mine, direction;
You remember it well,
You'd better forget
The light that shines on each other at this intersection!
In the fragment of the poem chance. "... it is fascinating to see it, making people forget that there is still a smell of fireworks in the world. "It is from this intermittent poem that some ethereal melodies serenade," Do you remember?/You'd better forget … "How frank and sincere, this is the voice from the bottom of my heart, but not in poetic language, but in spoken language, but so sweet and beautiful. There are two inflectional words "you" and "good" at the beginning and end of the third line, which makes the poem euphemistic and affectionate; The fourth line seems to inadvertently change the sentence pattern and intonation, and the rhythm is very free: the word "drip" at the end of the sentence is leisurely erased on the lightly read rhyme, leaving no trace of echo, so the sentence is divided into two lines, leaving a pause between the fourth line and the fifth line, just like an empty space without melancholy clouds, which can be said that there are more silent words than vocal words. Obviously, the strong musical effect has become an indispensable part of this poem.
Poets can use language to the extreme, easily liberate the musical elements in vernacular Chinese, let poetry plug in the wings of music and fly freely in the imaginary world. Not only does he often insert spoken language into his poems, but sometimes he writes poems entirely in spoken language, which can also create rich musical effects. Such as his "residual poems":
Who do you blame? Who do you blame? Isn't it thundering in the blue sky?
It's closed and locked, and there will be dust on the tiles tomorrow!
Don't look at the smooth white stone steps until tomorrow, alas,
…… ..
I am spoiled. If I feed late, I will be scolded.
Now, you're in charge! I'll give you the answer in the empty yard!
The whole head is composed of spoken language, with five or six meals per line, and the rhythm is basically neat; The arrangement of the rhyme after the seventh line is quite similar to "A Journey to the Sky" and "Mountaineering Tone" in northern China, and it is also similar to the so-called "heroic even rhyme style" in the west. Two actions rhyme, each line rhymes, and the rhyme feet are harmonious and changeable. In particular, the use of a large number of children's voices, with obvious Beijing local color, mellow tone, catchy, well-written words. At the same time, the vowels of some words are changed by consonants, which makes the language flow more melodious.
In Xu Zhimo's poems, a unique image of language and music can also be obtained by dealing with some rhymes. Often some extremely subtle phonetic factors, once caught by the poet, are handled very skillfully. Please see his movie Lei Feng under the Moon:
I send you a shadow of Leifeng Tower;
Thick dark clouds and white clouds all over the sky;
I send you a shadow of Leifeng Tower,
The bright moon is projected on the sleeping heart.
Late at night, Yi Yita shadow,
Clouds in the moonlight, slender wavy scales-
If you and I are swinging on a bare boat,
If you and I create a complete dream.
This is a very common form of line-by-line rhyme, and the poet accidentally used some rhyming words that could barely be used as rhymes. At first glance, it is inevitable that it is vulgar and clumsy. However, if you read it several times and appreciate it carefully, you may be impressed by the poet's phonological skills. The whole poem is divided into two sections with eight lines. Except for the last two lines, the endings of the first six lines are: shadow, cloud, shadow, heart, shadow and scale, and the tail of the line is modified alternately by the back nasal rhyme and the front nasal rhyme; At the same time, all the back nasal rhymes are wrinkled and the front nasal rhymes are flat. This makes the difference between two adjacent poems appear dark or bright at the end of the rhythm, which leads to the change of tone color for each line of the whole poem, and the whole poem also opens and closes, and the rhythm is soft and slow, just like a mysterious dream: the gray tower shadow appears and disappears in the distance; Dark clouds and white clouds gather and disperse; The moon shadow fell into the water, and the lake was covered with wave scales; "You" and "I" are singing softly, one high and one low, telling their respective spiritual feelings. When the poem enters the second quarter, four groups of overlapping words ring leisurely (deep, soft, round and slender) like the lightly invaded second theme, and they sing polyphony with phrases that change the tone. They interweave and melt with each other in contrast, faithfully conveying the emotional information of the poem, and the musical image is not only complete, but also full and three-dimensional. In the "dream" composed by poetic soul, the night, tower shadow, moonlight and wave scales are all filled with magical music, which is really a "perfect dream" with emotion, scenery and music.
The forms of Xu Zhimo's poems are ever changing, and almost no two poems are exactly the same in form. However, many of his poems, with the help of certain metrical patterns, can express distinctive language and musical images, often with unexpected originality. It can be said that the form and content of Xu Zhimo's poems are the perfect unity, which is the musical beauty of Xu Zhimo's poems. The theme and emotion of the poems are conveyed by language, the content of the poems is taken as the title of the musical image, and the language of the poems is taken as the rhythm and melody, which makes the linguistic form of music rise from abstract and concrete to the same position as emotion.
Second, the gorgeous beauty of painting
On the painting beauty of poetry, poets attach great importance to the painting pursuit of poetry and the ideal realm of "painting in poetry and poetry in painting". In A Farewell to Cambridge, every paragraph of the poem is a fascinating picture. For example, the second part of this poem is a picture of He Kanghe at dusk, and the fifth part is a picture of boating under the stars. The poet keenly grasped the concrete and vivid scenes such as "Golden Willow", "Wave Light" and "Starlight", and skillfully integrated the atmosphere, feelings and scenes, writing both landscapes and landscapes. [2]
Such as "A Little Poor Music Map":
The old woman picked up a piece of cloth, a good cloth!
Someone specializes in collecting cinders, and cinders are everywhere.
Oh, my God, a girl cried,
I picked up a fresh meat bone,
Let's cook old tofu later, shall we?
……
Judging from the realistic picture of poetry reproduction, this is a rewriting of the traditional theme of "Zhu Men's wine stinks and bones freeze to death on the road". The poet described the living conditions of a group of poor men, women and children by the garbage dump in plain words, and exposed the social inequality and the living conditions of the poor. In the description of this life scene, when describing the miserable experience of the poor, the poet used the comedy techniques of ridicule and ridicule, especially when the images of the last few yellow dogs were embedded in the crowd struggling to grab on the garbage dump, and at the same time showed the readers the labor map of the poor group. [3]
See also "One of Annola":
The most is the gentleness of bowing,
Like a lotus, it can't overcome the shyness of the cool breeze.
Take care, take care,
There is sweet sadness in the treasure—
Shian, Nora.
Although this poem has only five lines and 48 words, it is rich in content. When Japanese girls say goodbye to their friends, the charming and timid manner, the gesture of bowing their heads and the graceful charm are all very real. Her momentary mood, actions and language are like a genre painting full of life. [4] Only a few poets presented a colorful picture of a Japanese woman with both form and spirit to the readers, and the tender feelings at the farewell moment were mixed with faint sadness. [5]
The poet is also good at injecting flowing blood into static things, so that his poems can escape the dynamic vitality in a quiet picture. Taking She Fell asleep as an example, it describes a girl's sleeping state, and the whole picture is a peaceful and quiet state. The poet fixed his mysterious camera on the "girl's pear vortex", and then compared it with the trembling dew in the lotus dish, revealing a smart aesthetic feeling from the quiet picture, which made people feel like a narcissus-like "slender figure" in the "morning light" and a white lotus under the starlight in their dreams. [6]
Another example is "Little Singing of Leaves". "Her footsteps" stepped into my sweet dream in the middle of the night, breaking the silent night sky in my dream. When I woke up, the annoying "autumn sound" shattered my "memory" dream. [7]
Another example is in the mountains. The poet missed his lover in the mountain in the quiet courtyard. In the quiet night full of flowers and trees, the poet "wants to cling to the moonlight/melt a breeze/wake up the group of loose spring drunkenness/float in the mountains." The delicate and considerate poet could not bear to disturb his sleeping lover, and turned into a green leaf and landed gently on it. In this flowing picture, it seems that the lyric protagonist is wandering. This is the beauty of Xu Zhimo's paintings. [8]
Third, the patchwork architectural beauty.
On the architectural beauty of poetry, poets pay attention to the arrangement of lines. For example, in "Farewell to Cambridge", in order to avoid the lines being too neat and rigid, the poet cleverly moved the even lines of each section back by one grid, and the number of words in each line increased or decreased slightly, making the lines neat and changeable, full of uneven aesthetic feeling and pleasing to the eye.
A good poet always has his own unique style. Xu Zhimo often uses parallelism, repetition, overlapping and duality to make readers feel that his poems are rippling melodies. He once said: "Just as a person's secret is the circulation of his blood, the secret of a poem is the uniformity and flow of its connotation syllables." [9] Xu Zhimo's poetic organization is divided into three categories: poetic symmetry, poetic variation, poetic overlap and interval repetition. Such as "Shanghai-Hangzhou car":
Hurry! Come on, come on!
When is a cigarette, a mountain and a cloud?
A water, a bridge, a car accident,
A forest pine tree, a bunch of bamboo, red leaves are:
……
The scenery flying along the way reminds the poet that time flies and life is easy to get old. "In a hurry!" "Hurry up!" Poets enter poetry with the sound of wheels, just like a running train, with a regular rhythm. Then, the sentence "A cigarette, a mountain, ..." is composed of eight quantifiers, which makes people have a fast pace in vision and hearing, and integrates with the field scenery outlined by the author from the window.
Too much or monotonous symmetry will destroy the aesthetic feeling of poetry. Xu Zhimo not only pays attention to the change of poetic lines, but also pays attention to the symmetry of poetic lines. For example, "Wild Goose" uses the change of poetic lines to express the feelings of ups and downs and dilemma:
Wild geese fly in the clouds,
Look at their upturned arms,
Look at their wings,
Sometimes, when I come back,
Sometimes in a hurry,
……
Poems vary symmetrically, for example, the first and second lines, the third and fourth lines, and the fifth and sixth lines of each section are different. The language organization of this line of poetry makes this poem have a uniform and smooth rhythm, showing an elegant beauty. Xu Zhimo said: "It is a sport, no matter what its nature is, it is my interest and my inspiration." If it is moving, it will speed up my breathing and increase my life. "[10] The poet yearns for flying like a wild goose, and it is precisely this flowing rhythm that is needed to express it. See also I don't know which direction the wind blows;
I don't know the wind
Which direction does it blow—
In my dream,
In the light waves of dreams.
……
I don't know the wind
Which direction does it blow—
In my dream,
Hazy is the light in a dream.
This is a lyric poem with beautiful form, orderly structure and clear rhythm. Although it is a direct lyric way, the idea is very unique and ingenious. The whole poem consists of six chapters, each chapter consists of four long and short sentences; The first three sentences in each chapter are exactly the same, only the last sentence has changed; In addition, the rhyme feet are staggered from beginning to end, natural and neat, catchy and easy to recite. At the end of the first chapter, the phrase "in the light waves of dreams" covers almost the whole poem. This is the architectural beauty of Xu Zhimo's poems.