Motherland, my dear motherland.

The poem "Motherland, My Dear Motherland" syntactically draws lessons from the circumferential sentence pattern of Goya written by the Soviet poet Woznetsky, which increases the depth of pain and love, but develops creatively. Circumferential sentences often appear in works that express strong feelings, and are best used to render sad and painful feelings.

Appreciate:

Poetry reached its climax from the beginning, which is Shu Ting's consistent technique. The first two clauses of the first section are balanced sentences, which contain descriptions of sounds and colors. Three or four sentences are shortened and not depicted; The five sentences are long, the lines are short and tight, and the intensity exceeds the previous four sentences, so the subject (motherland) appears.

In the second quarter, direct dialogue is started without adjectives. Three or four sentences summarize the front, and then the theme appears. Hope for a better life in the future. Among them, "a flower that never falls to the ground for a thousand years" means that the good hopes of ancestors have repeatedly failed.

The third quarter is another change. The quintile is divided into seven lines, and the rhythm is staggered. If the first paragraph and the second paragraph are written in the past tense ("flowers that have not landed for thousands of years between flying sleeves"), use the present tense; This third section is about the future (The Newly Painted White Starting Line), and it also uses the present tense, which is more concrete and realistic, connecting the preceding with the following, and the pain rises to hope, so the subject appears again. It symbolizes that China is getting rid of the shackles, thriving and writing about the bright future of the motherland. The poet's feelings reached a climax, and his strong feelings turned into a magnificent oath to the motherland, and his strong sense of national responsibility, mission and lofty dedication sublimated his poetic thoughts.

The first two lines in the fourth quarter are one billionth small and 9.6 million square meters large. The unity of the big and the small is the enhancement of contrast, which means that I am a member of the motherland, but my chest contains the whole motherland. Next, scarred breasts nurtured me, taken from my flesh and blood, which is another contrast, highlighting my inseparable connection with the motherland; Even confusion, deep thinking and boiling are the opposites of richness, glory and freedom, so that we can see the endless joys and sorrows. If the first three sections are about my relationship with the motherland syntactically, the fourth section is about my relationship with the motherland in turn, which is the theme. Syntactic ambiguity is a manifestation of extreme excitement, which ends in the double-calling sentence of the subject (the subject at the end of the first three paragraphs is a single-calling sentence) and reaches a climax. It describes that the author is connected with the fate of the motherland, and has an inseparable relationship, flesh and blood, honor and disgrace and * * *.

There are only thirty-four lines in this poem, but fourteen semicolons are used. The clauses in these semicolons have a short duration, which reflects the changes of rhythm and melody. This poem is political, but it is not discussed, but only described, which is also a feature. All the symbols and metaphors in the poem are simple and beautiful, and every word is closely related to the scenery and images described. The poet not only observes with his own national elements, but also writes the spiritual essence and typical tone of people's inner life and external life with national language means and expressions that people can understand. What she feels and says is exactly what her compatriots feel and say.