The difference between Yu Guangzhong's nostalgia poetry and other nostalgia poems, best explained in terms of techniques of expression and so on.

Yu Guangzhong's Nostalgia Nostalgia Yu Guangzhong When I was a child, nostalgia was a small postage stamp, I was at this end, my mother was at that end When I grew up, nostalgia was a narrow ship's ticket, I was at this end, my bride was at that end Later, nostalgia was a short grave, I was at the outer end, my mother was at the inner end, and now nostalgia was a shallow strait, I was at this end, and the mainland was at the other end Poetry Commentary The poem is deep in meaning, longing for the unification of the motherland, and describing nostalgia in its fullest. It describes nostalgia to the fullest. Just as many rivers in China are tributaries of the Yellow River and Yangtze River, although Yu Guangzhong lives on an island, as a Chinese poet who loves his motherland and its cultural traditions, his nostalgia poems inherited the tradition of national feelings in China's classical poems in terms of inner feelings, with a deep sense of history and nationalism, and, at the same time, the long artificial isolation between Taiwan and the mainland and the feelings of homesickness of the tens of millions of people who have drifted to the isolated islands, objectively have a deep sense of history and nationalism. At the same time, the homesickness of millions of people who are artificially isolated from Taiwan and the mainland and have drifted to the isolated islands objectively has a specific and broad content that is incomparable to the nostalgia of any previous era. As a contemporary poet who has been away from the mainland for more than thirty years, Yu Guangzhong's works are also bound to bear the profound imprint of the times. The poem "Nostalgia" focuses on his personal experience on the mainland; a stamp when he was young, a ship's ticket when he was young, and even a grave in the future, all of which imply the poet's and thousands of overseas travelers' long thoughts of nostalgia, all of which are sublimated to a new height at the end of the poem: "And now / Nostalgia is a shallow strait / I'm at this end / the mainland at That end." Like a hundred rivers running toward the East China Sea, like a thousand peaks facing toward Mount Tai, the poet's personal sorrow and joy are intertwined with the great love of the motherland and the nation, and the poet's personal experience is also more provocative because of the burning of the feelings at the end of the poem, as the poet himself says: "Vertical sense of history, horizontal sense of region. Vertical and horizontal intersect into a sense of reality at the crossroads." (Preface to White Jade Bitter Gourd) In this way, the poet's Nostalgia is a variation of our nation's traditional nostalgia poems in a new era and under special geographical conditions, with a breadth and depth incomparable to previous nostalgia poems. Mr. Yu Guangzhong loves traditional Chinese culture and China. He praises "China, the most beautiful and motherly country". In terms of the extraction and refinement of imagery, the poem is simple and rich in beauty. Nostalgia is an emotion commonly experienced but difficult to capture. If no unique and beautiful imagery can be found to express it, the poem will either become generalized and banal or abstract and vague. Nostalgia distills four images from a wide range of time and space: postage stamps, boat stamps, graves, and straits. They are simple, the so-called simple, never simple, but clear, concentrated, strong, without the meaning of the side of the messy sense of the word more and more confused; they are rich, the so-called rich, but never stacked, but implicit. There is tension, which can induce readers to think in many ways. In terms of the combination of imagery, "Nostalgia" synthesizes imagery with the development of time, which can be called the progression of imagery. "When I was a child", "when I grew up", "later on", "and now", this chronological order is like a This chronological sequence is like a red line running through the whole poem, summarizing the poet's long life course and his nostalgia for his motherland. The first three stanzas of the poem are like surging waves, which in the end converge into the nine waves of the poem. The formal beauty of Nostalgia is also remarkable. Its formal beauty is manifested in structural beauty and musical beauty. Nostalgia presents the beauty of change in tradition in its structure. Unity means relative balance and proportionality; the paragraph and sentence styles are relatively neat, and there is harmony and symmetry between paragraph and paragraph, sentence and sentence. Change is to avoid unity to the extreme, and chase the lively, flowing and vigorous beauty. Nostalgia*** has four sections. Each stanza has four lines, and the stanzas are quite balanced and symmetrical, but the poet pays attention to the changes in the long sentences and short sentences, thus making the poem's appearance neat with the beauty of differences. The musical beauty of Nostalgia is mainly manifested in the melodic beauty of the cyclic, one-sing, three-sigh melody, in which "Nostalgia is--" and "At this end ...... The four repetitions of "at that end", coupled with the "small", "narrow", "short" in the four paragraphs, The use of overlapping words in the same position of "small", "narrow", "short" and "shallow" in the four stanzas of the poem makes the whole poem low and suppressed, like a complaint. The use of quantifiers such as "a", "a", "a", "a", "a", "a", "a", "a", "a", "a", "a", "a", "a", "a", "a", "a" and "a", not only shows the poet's language skills, but also his ability to write. The use of quantifiers not only demonstrates the poet's language skills, but also enhances the beauty of the poem's rhyme. Background After the outbreak of the Anti-Japanese War in 1937, the ten-year-old Yu Guangzhong moved around Shanghai and Chongqing with his parents. At the age of twenty-two, Yu Guangzhong came to Taiwan with his family and was admitted to the Department of Foreign Languages of National Taiwan University. Although he specialized in foreign languages, Yu Guangzhong had a strong interest in traditional Chinese culture. He has written extensively on poetry, prose, criticism, and translation, with poetry being his most outstanding achievement. He is regarded as one of the "Ten Great Poets" of Taiwan's modern school. 1971, Yu Guangzhong, who had not been back to the mainland for more than 20 years, was so homesick that he wrote a poem in his former residence on Xiamen Street in Taipei. After writing the poem, the poet was in tears and meditated for a long time. This is the "Nostalgia" that was later sung by overseas travelers. Author Yu Guangzhong, ancestor of Yongchun, Fujian Province, was born in Nanjing, Jiangsu Province, in 1928, entered the Foreign Languages Department of Jinling University in 1947 (later transferred to Xiamen University), moved to Hong Kong with his parents in 1949, and went to Taiwan the following year to study in the Foreign Languages Department of National Taiwan University. He went to the United States for further study and received a Master of Fine Arts degree from the University of Iowa. After returning to Taiwan, he became a professor at the University of Poetry, the National Chengchi University, the National Taiwan University and the Chinese University of Hong Kong, and is currently the dean of the Faculty of Arts at Sun Yat-sen University in Taiwan. Yu Guangzhong is a complex and volatile poet, and the trajectory of his changes can basically be said to be the same as that of the entire poetry scene in Taiwan over the past thirty years, i.e., westernization followed by a return to the West. The style of his works is extremely inconsistent. Generally speaking, his poetic style varies according to the subject matter. Poems that express will and ideals are generally strong and resonant, while those that depict nostalgia and love are generally delicate and soft. He is the author of more than ten collections of poems, including The Boat's Lament, Blue Feathers, and Stalactites, Halloween, and White Jade Bitter Gourd.