Two Poems by Guo Moruo

This poem is based on the legend of Cowherd and Weaver Girl in ancient China. With rich and novel association and imagination, it depicts the wonderful scene of paradise streets and expresses the poet's thoughts and feelings of getting rid of feudal shackles, pursuing ideals and yearning for freedom and happiness.

Guo Moruo's early poems often borrowed myths and legends and recreated them to express his feelings and ideals. The bold imagination and strange ideas in the works reflect the poet's romantic creative characteristics. The market in the sky also has the above characteristics, as follows:

(A) choose myths and legends as the theme.

This poem is based on the myths and legends of the Cowherd and the Weaver Girl in ancient China. However, in the concrete application, the poet made a bold transformation according to his own wishes and ideals, sublated the tragic content that lovers were separated from life and it was difficult to reunite, and replaced it with the new content that cowherd and weaver girl lived freely and happily. In the poet's imagination, the Cowherd and the Weaver Girl were liberated and galloped freely in the shallow Tianhe River. Their life is so happy: "I think they are wandering in the street at the moment." /Look at that meteor if you don't believe me. /They are walking with lanterns. "Here, the autocratic heavenly queen no longer exists, and a free life is presented to them. A loving couple, after busy knitting, strolled leisurely in the beautiful market with lanterns in their hands. How free they are! How comfortable! This change expresses the poet's yearning and pursuit for a better life.

(2) Use association and imagination.

At the beginning of the poem, the poet saw "street lamps in the distance", which appeared and disappeared like stars in the sky, so he naturally linked "street lamps" with "stars" and expressed this association in figurative rhetoric, which not only described the charming night scene, but also hinted at the pursuit of a bright future and dissatisfaction with the dark reality. This kind of "association" with strong fantasy color attracts readers' attention from the world to the sky, paving the way for the detailed description of "the market in the sky" below.

In the last three sections, the author uses imagination to describe the furnishings of Tianjie, the life of Cowherd and Weaver Girl and their current activities. The objective existence of the "fairyland", "Tianhe" and "meteor" conceived by the poet with imagination is so concrete and real: a beautiful market, where exotic goods can live, and a cowherd and a weaver girl ride cows and carry lanterns. In the poet's pen, myths and legends are perfectly integrated with the actual scene, which seems unreal and true, arouses readers' infinite reverie, follows the author's imagination and travels in fairyland, thus feeling the poet's beautiful feelings of pursuing ideals.

Second, the problem research

(1) How does this poem gradually expand its imagination? What is the purpose of the poet's imagination?

Tip: The process of developing imagination step by step is:

street lamp

star

→→ air market → items displayed in the air market

→ Freedom of Cowherd and Weaver Girl

(2) What do the last three paragraphs of the poem mean by "Ding" and "Ding"?

Tip: Both "affirmation" and "affirmation" indicate the tone of determination. What is described is obviously from imagination, but the author affirms it in a firm tone, which shows that the author firmly believes that such an ideal world exists and is full of confidence in a bright future, which makes us equally inspired and infected after reading it.

(3) The author thinks of beautiful things such as streets and stars in the sky from the streets and street lamps on the earth. Is this imagination too exaggerated? Why do poets write like this?

Hint: The poet naturally associates the streets and street lamps on the earth with the streets in the sky. Under the clear night sky, Tianhe is really as shallow as a bay stream, and it doesn't look like it can fiercely block the cowherd and the weaver girl on both sides. So the author's whim-Cowherd and Weaver Girl wandering in the street-is reasonable. It should be said that the poet's series of associations and imaginations are based on real scenes and real life, reflecting the author's feelings and thoughts at a specific moment.

In addition, it should be noted that the stars in the sky are out of reach for the poet, and the street lamps on the ground are also a vision for the author. From the visual point of view, there is no obvious boundary between street lamps and stars, which is also the basis of the author's association.

tranquil night

Text discussion

First, the overall grasp

Silent Night is very similar in writing and style to Market in the Sky. Therefore, after learning the article "Market in the Sky", students can be guided to learn this poem in the same way.

The title of the poem is Silent Night, and most of the pen and ink are used to describe the quiet night scene. Section 1 of the poem depicts a very ordinary picture: the moonlight is faint, and the pine forest outside the village is bathed in the moonlight; Clouds and stars are scattered in the sky, which is easy to see in people's daily life. Through poetry, readers seem to see the poet walking alone outside the house in the dead of night, casually looking at the faint moonlight, the dim forest shadow in the moonlight and the sparse stars leaking from the clouds. If we continue to write with this plain idea of scenery writing, it will be only a good poem of scenery writing at best, but at the beginning of the second section, the poet asks, "Where is Tianhe?" This problem broadens and promotes the realm of the whole poem and brings the reader's vision and mind to the vast universe. The author seems to want to lead the reader's thoughts to "concentrating octupole" and "wandering around Wan Ren", and seems to want the reader's eyes to see the infinite depths of the starry night through the boundless darkness, but the following sentence "The sea fog in the distance is very vague" brings back the thoughts that the reader just put down. Fuzzy sea fog can block people's sight, but it can't stop the imagination like a runaway wild horse. At this point, the flying heart couldn't stop thinking for a long time-"I'm afraid there is Jiao Ren on the shore/on the moon?" This sentence perfectly proves that the poet's imagination has indeed crossed the vast sea fog, imagining that there is a "Jiao Ren" standing on the shore, silently shedding a string of pearl-like tears at the moon ... Is "Jiao Ren" crying with joy or sadness? Or endless yearning? This left readers with endless aftertaste. This is a poem, this is Guo Moruo's poem! This is imagination, this is Guo Moruo's imagination! Without the imagination of the latter paragraph, the scenery of the former paragraph is dull and lifeless. With the imagination of the latter paragraph, the common scenery becomes ethereal and beautiful. What is particularly commendable is that although there are differences between realism and imagination in the first and second sections, they all write the word "quiet", and the atmosphere of the whole poem is harmonious and unified.

Second, the problem research

(A) the structure of poetry

The structure of the poem "Silent Night" is very similar to that of "Market in the Sky": both of them are transferred to the imaginary world on the basis of the previous scenery, and the ending is unexpected, which makes people memorable and yearning! Therefore, in the teaching process, students are required to discover the similarities and differences between the two poems in this respect.

(B) scenery-the basis of imagination

After reading these two poems, you will find that the poet's imagination is based on the scenery in front. It is conceivable that if you only write about the scenery without writing about the imagination, there will be no finishing touch; If you don't write the scene and imagine it directly, it will appear abrupt and unnatural, like water without a source and a tree without a root. Only by mutual integration can we become an artistic whole and give people artistic beauty. Moreover, this is also in line with people's cognitive process. Only when you are exposed to what you have seen and heard can you feel something and further generate extensive and in-depth association and imagination. Therefore, in writing, they always have to contact their own life experiences to activate their imagination, so as to write extraordinary and wonderful articles.

(3) "Afraid of Jiao Ren on the shore/floating on the moon?"

Guide students to combine the full text and notes to understand. If necessary, they can explain the record in Natural History: "There are Jiao Ren in the South China Sea, living like fish forever, without wasting their achievements, and their eyes can shed tears."

Practice note

Read and recite these two poems. Describe the imaginary world in the two poems in your own words.

Poetry is short and pithy, catchy, rhythmic, and should be memorized. "Describe the imaginary world in these two poems in your own words" is actually a kind of rewriting and restatement, aiming at reproducing or recreating the scenes and things in the poems, deepening feelings and cultivating the ability of association and imagination. Students should be allowed to make reasonable supplements and play.

The answer is not uniform, and the narrative should have its own understanding and personality characteristics. Silent Night also allows students to make reasonable inferences about Jiao Ren.

Follow the example, use your imagination and imagination, and continue to write the following sentences. (Select two questions)

Example: Stars appear in the sky, as if countless street lamps were lit.

1. The morning glory is in bloom, …

2. Parrots in cages, ...

The moon shines on the ground, ...

When I left my parents, ...

Play association and imagination and continue to write sentences, with the aim of guiding students to practice association and imagination. In association training, we should pay attention to similarity and imagine what we associate as metaphor, so we ask students not to associate similar things, but to associate beautiful things.

The answer is not unique, and students can be encouraged to make many similar associations around a single related point.

Observe the cowherd and weaver girl in the night sky, find out their astronomical knowledge and write a short article.

It is necessary to stimulate students' interest and enthusiasm and actively look for materials. After writing a short essay, you can communicate with the whole class.

Teaching suggestion

First, we should introduce the poet and the background of the times, but the content should be accurate and focused. This paper mainly introduces the poet's experience and thoughts and feelings when he wrote these two poems in 192 1, and introduces the overall characteristics of the starry sky to help students understand the thoughts and feelings of these two poems. Students can also be organized to recite the relevant poems in the collection of poems "Starry Sky" after class.

Second, introduce two different concepts: association and imagination. The so-called association is the psychological process of thinking of another thing from one thing. Recall another related thing from the current thing, or think of another thing from the recalled thing, which is association. Objective things are always interrelated, and different things are reflected in the mind, forming different associations: things close in space or time form close associations; Things with similar characteristics form similar associations; Contrastive associations are formed between things with antagonistic relations; Things with causal relationship form causal associations, and so on. Imagination is a psychological process of creating a new image on the basis of the original perceptual image. These new images are formed by the processing and transformation of accumulated consciousness. Although people can imagine the image of things that have never been perceived or actually do not exist, the content of imagination always comes from objective reality. Of course, in the actual teaching process, students should not be given such an abstract explanation, but should be combined with specific images in poetry to let students understand what association and imagination in poetry are and the importance of their application.

Third, on the basis of familiar reading and beautiful reading, guide students to retell, expand and rewrite poems, cultivate students' association and imagination, and accumulate creative thinking experience.

Four, these two poems have beautiful artistic conception and slow rhythm, and have the charm and interest of classical poetry, which is suitable for reading aloud. It is necessary to strengthen the guidance of reading aloud, distinguish the rhythm, read the stress correctly and read the feelings. Play the tape, make a demonstration, read it over and over again, preferably recite it in class. The general principle of reading aloud is to grasp the beautiful, quiet, comfortable, fresh and slightly melancholy emotional tone of these two poems; When reading aloud, the rhythm should not be strong, the voice should not be loud, the speed should not be fast, and it should be relaxed, soft and soothing. The rhythm and stress of these two poems are divided as follows for reference when reading aloud:

Streets in the sky

Distant/street lamp/sunny,

Like/twinkle/countless/stars.

A star in the sky/now,

Like/burn/countless/street lamps.

I think/ethereal/air,

There must be a/America/city.

In the market/on display/on something/something,

It must be/the world/no/exotic.

You see,/that shallow/Tianhe,

It must be/not very/extensive.

The cowherd/weaver girl across the river,

I'm sure I can/ride an ox/come and go.

I think/they/at present,

I'm sure/I'm/I'm/I'm wandering around the street.

Don't believe,/look/that meteor,

It's them/carrying lanterns/walking.

tranquil night

Moonlight/light,

Shrouded in the village/outside the village/in the pine forest.

White clouds/clouds,

Missing/when/the stars.

Tianhe/where?

Distant/foggy/hazy.

Afraid that there will be/Jiao Ren/ashore,

On the moon/beads?

related data

I. Introduction to the author

Guo Moruo (1892— 1978) is a poet, playwright, historian, archaeologist, archaeologist and social activist. Her original name is Guo Kaizhen, her original name is Bao Wen, and her name is Wu Shang. Her pen names are Moro, Maiang, Guo,, Gao Ruhong and. People from Leshan, Sichuan. When I was a child, I was educated at home and read a lot of classical literature. In primary and secondary school, I read Zhuangzi, Songs of the South, Historical Records and other books, read Liang Qichao's and Zhang Taiyan's political comments, Yan Fu translated The Theory of Evolution, and Lin Shu translated novels, which were inspired and influenced by democratic thoughts. 19 14 went to Japan to study, and was successively exposed to the works of Tagore, Goethe, Heine, Schiller, Shakespeare, Shelley, Whitman and progressive writers from northern Europe, France and Russia, and was influenced by pantheism in philosophy. 19 19 took an active part in the anti-imperialist and anti-feudal new culture movement after the May 4th Movement broke out. At the turn of1919-1920, he finished the creation of the first poetry collection Goddess and became the founder of China's new poetry. 192 1 returned to China, and initiated the establishment of "Creation Society" with Cheng and Yu Dafu to engage in new literary activities. From 65438 to 0924, he began to accept Marxist thought and advocated "revolutionary literature". /kloc-at the beginning of 0/926, he went south to Guangzhou and became the dean of the College of Literature of Sun Yat-sen University. During the Northern Expedition, he successively served as Secretary-General, Deputy Director and Acting Director of the Political Department of the Northern Expedition Revolutionary Army. 1March, 927, wrote "Seeing Chiang Kai-shek Today" for Chiang Kai-shek, exposing his counter-revolutionary conspiracy. In August of the same year, he participated in the Nanchang Uprising and joined the China Producers' Party. Persecuted by the Kuomintang reactionaries, he went into exile in China from 65438 to 0928 and devoted himself to the study of ancient history and ancient philology in China. He is the author of Studies on Ancient Society in China, Studies on Oracle Bone Inscriptions in Two Weeks, Studies on Bronzes in Yin and Zhou Dynasties, Textual Research on Bronzes, etc. China became one of the pioneers who used historical materialism to study history. After the outbreak of War of Resistance against Japanese Aggression, he returned to China alone, engaged in the anti-Japanese national salvation movement, and served as the director of the Third Hall of the Political Department of the Military Commission of the National Government and the director of the Cultural Work Committee. Before and after the Southern Anhui Incident, he wrote six historical dramas, such as Tang Dihua and Qu Yuan, which played a very good role in educating the people and attacking the enemy. 1in March, 944, in order to commemorate the three hundredth anniversary of the peasant uprising led by Li Zicheng in the late Ming Dynasty, he wrote a long article, The Three Centennial Festival of Shen Jia, which summarized the historical experience and lessons and was praised by Comrade Mao Zedong. During the War of Liberation, he bravely stood in the forefront of the democratic struggle and led the struggle between the cultural circles and the Kuomintang rulers. After 1949, he successively served as Vice Premier of the State Council and Director of Culture and Education Committee, President of China Academy of Sciences, Chairman of All-China Federation of Literary and Art Circles, Vice Chairman of National People's Congress and Vice Chairman of Chinese People's Political Consultative Conference. His major literary works in his life include: Goddess of Poetry, Starry Sky, Aquarius, Thousand Cats, Restoration, Collection of Strings, Collection of Wars, etc. Prose My Childhood, Before and After Anyway, Ten Years of Creation, The Road to the Northern Expedition, Boiling Soup Collection, etc. Such as Three Rebellious Women, Qu Yuan, Tiger Elephant, Flower of Tang Di, Gao Jianli, Cai Wenji and Wu Zetian. There are also translations of Selected Poems of Morrow and Goethe's Faust. The Complete Works of Guo Moruo was published by People's Literature Publishing House.

(Selected from China Encyclopedia Literature and Art, Unity Publishing House, 1995 edition)

Second, a comparison between Goddess and Starry Sky (Sun Dangbo)

1. In short, although I resent the dark reality in Starry Sky, my expectation for the future pioneers' modern labor is still sparking with resistance and creation; But as far as most poems are concerned, disappointment and sadness dominate. The ideal of longing for a new life in the motherland has become a lament of worrying about the country and the people; The passion for freedom and light has turned into an exploration of the ethereal starry sky; The spirit of resisting reality has become an escape from reality and an independent dance; Negative negation replaces positive destruction and creation; Pessimistic colors are better than optimistic colors, and Li's poems have become old poems. In Goddess, the poet praised "all the revolutionary gangsters", but now he praises the reclusive Boyd Shu Qi. All this is the projection of the low tide on the poet after the May 4th Movement, from which we can get a glimpse of the poet's mental journey. Disappointment, hesitation and depression in Starry Sky were also common emotions at that time.

2. From the artistic form, most of the poems in Starry Sky have relatively complete structures, harmonious rhymes, vivid images and full of feelings and scenes. As the poet said, skills are indeed "better" than some poems in Goddess.

(Excerpted from Biography of Guo Moruo, People's Literature Publishing House, 1987)

Three, beautiful night songs-reading "The Market in the Sky" (Linlin)

After a burst of intense and excited emotions in the goddess era, Guo Moruo entered a more enlightened life meditation. At this time, he cast a more wonderful artistic temptation on the night when he sang enthusiastically.

In China at that time, Guo Moruo was the writer with the strongest sense of the universe. Unlike some young writers at that time who were puzzled by the mysteries of life, they often fell into self-created boredom, anxiety and sadness. Guo Moruo mobilized rich aesthetic imagination in his life meditation, and he found his spiritual counterpart-the night sky.

In Guo Moruo's view, the infinite universe is embodied in the limited individual life: "I think the poet's state of mind is like a clear sea." When there is no wind, it is still like a mirror, in which the impressions of everything in the universe are reflected; When there is wind, the waves will surge, and the impression of the universe is moving inside. " (Three Leaves Set) When the limited individual life and the infinite universe life established an inseparable spiritual connection, Guo Moruo changed the universe order in his visual perception in a new way of inspiration. He has greatly deviated from the visual convention of ancient writers. He not only looked at the night sky with his eyes, but also felt the night sky with his own heart. The night sky seduced his reverie and made him communicate with the infinite universe more directly with an aesthetic attitude. In Guo Moruo's life rhythm, there are both "encouraging tone" and "quiet tone" (on rhythm). His poem "Starry Sky" is a journey in the night sky with an "inspiring tone". In his works, the night sky is so magical and shocking, so shocking. He sang, "Beautiful! Beautiful! /Eternal celestial sphere/What a change! /beautiful! Beautiful! /I feel black after getting drunk,/but the cat is always spinning! " The poem "Market in the Sky" is a beautiful serenade with a "quiet tone". Just half a month before writing Market in the Sky, Guo Moruo expressed his desire for a "quiet and clean" poetic world in a letter to Yu Dafu, and Market in the Sky presented a "quiet and clean" picture of an imaginary world.

There is a star-like light on the ground and a star-like light in the sky. Poets connect heaven and earth by exchanging metaphors of ontology and vehicle. The characteristics of "street lamps" and "stars" are "countless" and bright, and countless bright lights and stars become symbols of beautiful things.

The second to fourth paragraphs of this poem describe the wonders of the "street in the sky" imagined by the poet. In these twelve lines, the poet uses four "affirmations" and one "affirmations", whose positive tone will make readers follow the poet's imagination and blur the boundary between the real world and the fantasy world. Since the "market in the sky" shows "rare things that are not found in the world", it must be a much better place than the real world. Isn't it? The poet seemed to see the legendary Cowherd and Weaver Girl enjoying a free and happy life there.

It turns out that the Cowherd and the Weaver Girl in the legend are not happy when they arrive in the sky. They are stuck on both sides of the Tianhe River and only meet once a year. However, in the poem "The Market in the Sky", Tianhe has become "shallow", not too broad, and it no longer prevents couples from moving freely. So both the Cowherd and the Weaver Girl can wander in Tianjie, and the poet even sees the lanterns in their hands. This illusory scene shows vivid realism in the author's pen, and the beautiful and happy streets described by the author provide readers with human interest.

"The market in the sky" is what the poet sees when he looks up at the night sky with spiritual eyes. In Guo Moruo's spiritual vision, the world in the sky corresponds to the world on the ground. The local world left him with the impression of "tears in his eyes" and "disgusting in his heart": "corpses everywhere,/wanton meat", "skeletons everywhere,/coffins all over the street" (impression of Shanghai goddess). He used "the market in the sky" to express his desire for light.

(Excerpted from Appreciation of Guo Moruo's Poetry, Hebei People's Publishing House, 1994)

Fourth, open the ideal light of the night (Yang Zongguo)

In the early 1920s, the wave of the May 4th Movement had subsided, and the era of the Great Revolution had not yet arrived. Semi-colonial and semi-feudal China is still suffocated by imperialist powers and their warlords. The poet hesitated painfully. He is dissatisfied with reality and eagerly looks forward to a better future; Inspired by the brilliant starry sky, I wrote this romantic "Market in the Sky".

The sky is admirable. The poet uses "beautiful market" and "rare in the world" to imply the beauty and richness there. A faint touch of dye eclipses the poet's unfair world. The familiar human market is branded with the ugly mark of the ruler everywhere. On the one hand, it is debauchery, on the other hand, it is extremely poor; There are parasitic arrogant rich people and coquettish women, arrogant foreign policemen, vagrants and beggars and prostitutes ... The human market is a hotbed of evil of the exploiting classes and a window of obscene behavior. The poet's ideal market in the sky, like a dazzling beam of light, opens up a realistic night.

What is even more fascinating is the happy life of the Cowherd and the Weaver Girl in space. Sections 3 and 4 lead readers to imagine two fascinating pictures. One is a picture of a cowherd and a weaver girl riding a cow across the shallow Tianhe River. One is a photo of them carrying lanterns in Tianjie. The front picture may have obvious splash from Tianhe, but the overall atmosphere is quiet and peaceful; The picture behind is a little bustling. Both paintings are free and carefree, showing the poet's longing for a better life in the future. There are two points worth noting here. The first is the choice of mythical characters. Cowherd is the only god transformed by the working people in myths and legends, and the poet puts him at the center of ideal life, which embodies the progressive thought of caring about the fate of the working people. The second is the transformation of myth. Legend has it that the life of the cowherd and the weaver girl in the sky is not wonderful. The Queen Mother of Heaven separated them with the Milky Way painted by the host, and only met once a year on the Queqiao Bridge on Tanabata. According to the ideal logic, the poet turned the insurmountable Tianhe into "shallow" and "not very broad", turned the obstacles that caused misfortune into a foil to a better life, gave new ideas to ancient myths and added more charming colors to the dreamland in the poem.

"The poet rolled his eyes, with subtle madness in his eyes, and saw the underground from heaven and the underground from heaven. His imagination formed the form of unknown things, and he described them in his pen, which gave vague things an exact place and name. " (Shakespeare's A Midsummer Night's Dream, Act V, Scene 1) In China's traditional poems, it is not uncommon to see works with rich imagination, pursuit of concentration and wandering in Wan Ren; It has become the same way for all active romantic poets to denounce the darkness of reality with the light of fantasy. However, those works are qualitatively different from this poem. Qu Yuan's Lisao combines myths and legends, historical figures and various natural phenomena. The realm is misty and blurred, and the scene is magnificent, reaching the extreme of imagination, which effectively shows the poet's sober personality of persisting in his ideals and unremitting struggle. However, the poet was disappointed with his fugue. When he saw his hometown at the end of the article and returned to reality, he even expressed his grief and indignation that choked him: "I am not satisfied with American politics, so I live in Peng Xian's place!" Li Bai sleepwalked in Tianmu Mountain, climbed to the peak of immortal tour and devoted himself to the magnificent poetic realm. But in an instant, it was swept away by the ruthless reality: "My pillow and my mat are all lost clouds in which I have been!" " Helpless sigh. Su Shi was fascinated by Palace Que in the Sky and Jade Mansion in Qionglou, "wanting to go home by the wind" and worried that "it's too cold at the top", so he had to dance on the ground to find out the shadow so as to masturbate. All these inspire or edify people to varying degrees, but they are all limited by the times and can't see the possibility of realizing their respective ideals, thus casting a shadow over their imagination. Guo Moruo, a great poet who rose in the May Fourth Movement, saw the light of human hope radiated by the October Revolution and was convinced: "The final victory will always be in my Cao! The highest ideal is only in agriculture and labor! " (Guo Moruo's Lessons from Jupao) The illusion in his works obviously has a brand-new color of revolutionary romanticism. True, novel and beautiful, without shadow, it can whip reality more effectively and attract people. As Wen Yiduo said when commenting on Goddess, "Guo Moruo's poems are worthy of being new when it comes to new poetry. His works are not only farthest from the old poems in art, but the most important thing is that his spirit is completely the spirit of the times-the spirit of the twentieth century. " (Wen Yiduo's Spirit of Goddess)

The great artistic charm of this poem lies not only in the above-mentioned innovation and innovation, but also in its exquisite structure and originality. Street lamps and stars are far apart in the night, and the visual experience is very similar. Therefore, the poet naturally put pen to paper, integrated the ground and the sky, and then indulged his imagination in the starry sky. The second paragraph is slightly dyed with faint strokes, imagining the wonderful and hazy background of the world in heaven; Section 3 introduces the characters, and the imagination is more concrete and real; The fourth section is about meteors, which are the bright spots dancing in the sky, making the whole poetic realm suddenly active. The poet seems to have adopted the traditional technique of layering in Chinese painting, which makes the picture clearer and the illusion more and more moving. At the end of the sentence, "They walk with lanterns" vividly depicts the image of the cowherd and the weaver girl to the readers. The poem has been closed, but the scene of interstellar characters shuttling continues, which seems to have a leisurely aftertaste.

Simple and friendly language. "Like", "I think" and "look" ... just like talking with my closest friends, they unconsciously affect readers' sight and thoughts, making them look up at the stars, watch the wonders and gallop with the poets.

As for the exquisite composition, the symmetry of the poem and the harmonious melody, it is not difficult to appreciate.