Poetry often shows universality. What works are there?

Since the string of "pearls in the East China Sea" was torn down by the turbulent situation. How many related past events are buried in the hearts of people on both sides of the strait may be impossible to count, and some may never be known to the world. As a special group in this kind of crowd, mainland poets living in Taiwan Province Province speak for all mainland immigrants with their innocent hearts, and with their fiery and gentle words, China people wandering in any corner of the world can feel the deep and lasting feelings of compatriots on both sides of the strait.

Although she is a poet in Taiwan Province Province, Xi Murong's unique life experience and life experience determine that her poetry has a unique artistic conception different from other poets in Taiwan Province Province. This artistic conception is the most typical in his homesick poems.

The heart is in the mainland, old Taiwan Province province. As a mainlander destined to wander in a foreign land for half his life, Xi Murong sighed helplessly in the preface of the poem "Wandering the Lake": "All my memories, all my expectations and all my waiting are related to this island. I am really a part of this island and a person on this island". This tragic feeling and living environment gave birth to her homesickness, which turned into poetry, telling the true and simple feelings.

When Xi Murong was five years old, her father took her boating in Xuanwu Lake. This is a beautiful starting point for her childhood memories of the mainland. In the poem Botanical Garden, she wrote ... on a July afternoon/lotus leaves are flying in the wind/like mom's clothes today/lotus flowers are delivered gently/the fragrance in her clothes pleats/but mom is still unhappy/only I know why/alas/beautiful mom/you can't stop loving this lake just because it's not called Xuanwu. " This autobiographical poem seems to express the feelings of mother and son for a moment, but the deeper meaning is that wanderers in a foreign land are eager to find substitutes in their hometown and find a sense of sight to satisfy their emotional sustenance in their childhood memories, but no matter what kind of support they rely on, they are still "how bright the moonlight is at home!" It's just "raising a glass to eliminate sorrow."

But more often, this homesickness is naked and wanton release, such as "The Ballad of the Great Wall". "Although the gate has played a historical role/although how many branches have been collected and returned/how many joys and sorrows have been closed/you will always be a heartless building/squatting on the top of a barren hill to look at human grievances coldly/why can't you sing/write an article/and when you mention it, there is a fire burning/Wan Li's body is in the fire/your face has been in one thousand years/your cloud/. Taking the Great Wall as an image is no longer as subtle as Xuanwu Lake. In a narrow sense, the artistic conception of this poem has risen from self to self. The Great Wall is a witness to the historical vicissitudes and sufferings of China. The poet's complex of taking the Great Wall as his soul destination is moving, and his love for the mainland is also vividly displayed.

When Xi Murong went to study in Europe, his wandering consciousness was mixed with his attachment to his hometown, mainland China and Taiwan Province Province, which was even more complicated. She wrote in the preface of her poetry collection "There is a Song": "In my heart, there has always been a song. I can't name it, and I can't sing all its tunes, but I know where it is, in the softest corner of my heart. Whenever ... I walk through a vast grassland full of wild flowers, or in a city where the lights are just on, ... at a certain moment, a kind of deja vu sadness will attack my heart, and the slow but familiar tune will appear on time. I know that it is my song, a song belonging to vagrants. " The vast grasslands and splendid cities are more or less the memories of Xi Murong's life. What she longs for is the most traditional consciousness of settling down in China, but in order to pursue her own life, she still needs to go far away. So she wrote in the poem "A Foreign Land": "So the night came/knocked on my window in November/woke up from the fragrance of the south/woke up from the dream of going home/the lights in Brussels were shining/I was alone in the crowd/the crowd threw it at me lonely/it was drizzling/it wasn't my tears/the fallen trees outside the window".

The theory of wandering and dispersion can explain the general characteristics of Xi Murong's homesick poems. According to this theory, after independence, the colonized people left their hometowns to settle in various parts of the world, and the culture of the places where they migrated had an impact on the pre-colonial culture and national culture of immigrants, forcing immigrants to adjust their cultural orientation. Xi Murong, a native of Inner Mongolia, spent his childhood in the south, then moved to Hongkong and Taiwan Province, and went to study in Europe as an adult. Her choice of cultural orientation is basically the same as that of most Taiwan Province provincial poets. This way of expressing homesickness is called root-seeking tendency, which is typical and universal in Taiwan Province literature. For Xi Murong herself, the mainland has a richer meaning of life, which is vividly manifested in the particularity of her poems.

The particularity of Xi Murong's homesickness poems lies in her profound national accumulation as a unique primitive person in Mongolian mind. She has heard many beautiful stories and legends of grassland desert from her elders since she was a child. The yearning and longing for hometown is more violent and distant than the yearning for the mainland, and this emotion gradually becomes heavy with the changes of age and life.

In the poem "Homesickness", she wrote: "The song of hometown is the flute of Qingyuan/it always rings on the moonlit night/but the face of hometown is vague/melancholy/like a wave of farewell in the fog/after parting/homesickness is a tree without rings/never grows old". Xi Murong was born in Mongolia, but he has hardly been to the land where he was born. She sometimes thinks uneasily, "What kind of person will I be if I really go back one day and stand on the land where my parents raised me?" How scared I am. If I stand on a land that should be close to me, I find that I am already. In the end, I can only be a stranger. "This melancholy homesickness turned into the artistic talent possessed by the descendants of Tianjiao, and flowed out from the pen tip. This kind of homesickness is difficult for other homesick poets to gather.

She once talked about the writing of the poem March in her essay Gone with the Wind. Once she walked with her father, and the newly cut grass gave off a fresh fragrance, which reminded him of the grass in his hometown grassland. This homesickness also infected Xi Murong. She said, "I can't help but feel a deep sadness in my heart. My father, who has been away from home for so many years, still cherishes a memory of the grassland thousands of miles away. " The phrase "incense is only outside the Great Wall." Therefore, the poem was written almost without any words: "Please sing a song for me/use forgotten ancient words/please call gently with beautiful vibrato/the great rivers and mountains in my heart/the fragrance only existing outside the Great Wall/……/Think of the golden light shining thousands of miles on the grassland/think of the sandstorm roaring through the desert/think of the Yellow River bank/Yinshan side/ride back to my hometown". This artistic conception, full of Mongolian national color, shows a kind of life force without carving. Thus, when Xi Murong wrote the mourning poem "Father" for his dead father, national feelings, family feelings and motherland feelings had reached the peak of a harmonious relationship.

Jung's view of collective unconsciousness holds that even if a person does not grow up in the cultural atmosphere of his own nation, the genes of his national consciousness will play a certain role in the dark. Xi Murong is the proof of this view. In literature, her works further show that a national writer can stay away from his native land geographically and be different from his own nation in living environment, but as long as the national subconscious does not disappear. The characteristics of national literature will not be lost, and may even be more vivid and sensitive.

The universality of Xi Murong's homesickness poems represents the deep yearning of Taiwan Province immigrants for the mainland and hometown, while the particularity represents Xi Murong's unique homesickness poem style as a Mongolian poet in Taiwan Province Province. These two charms sometimes appear alone and sometimes blend with each other in her homesick poems. Since Xi Murong began to write poetry in junior high school, no matter how life changes, the two axes that maintain her homesickness poems have never changed. The reason for all this is that she is a "plateau child", a child of China, and a wanderer's unchanging belief and pursuit in this life.