The column of "Wang Yizhen's Teaching Children's Poems" mainly recommends and reads relatively new poetry texts suitable for children in modern and contemporary China, so as to promote the development of national poetry education. At the same time, this platform also opens up columns such as "Children's Poems", "Poetry Teaching Classroom", "Stories Behind Poetry" and "Good Book Recommendations", and welcomes poetry educators and poets across the country to participate in the interaction and cultivate the garden of poetry education.
Wang Yizhen recommended poems
Ride an ant on a tour
Ji Shaobo
Gently, gently turn the body to the side
Squeeze into a thick book, I want
I'm going on a trip with a little ant
You don't have to worry at all, I'll get lost
The fluttering wings of a butterfly are a map for my hike
Always pointing to beautiful landscapes
You don't have to worry at all, I'll be tired
The snail's back carries the luggage of my journey
There was bread and water, and tents......
In books, there are mountains, rivers, and fields......
And the spring of the purple and red, we say okay
In the spring, there is a beautiful date
I'm going to whisper the name of every word
Soak up enough rainwater and prepare the seeds to sprout
In the spring, we must sprout and wake up together
Spit buds, draw green, flower...... And what about me
I'm going to follow the song of the bees
Swaying into the most beautiful flower in spring
Black Woman Reading
Nature has beautiful landscapes, even more in books, and it is not affected by the seasons, you just need to squeeze into it sideways...... The poet's whimsy makes a wonderful fairy tale and a colorful poem. Why does he ride an ant on a tour, because the ant walks slowly, so you can see it carefully, why the butterfly's wings are a map, because it is colorful, why does he use a snail to carry his luggage, because the snail shell is strong...... So every whimsy has a basis in reality. Once such a "tour" unfolds, endless scenery and stories rush out, and you must have a lot of bizarre experiences?
Poems for children
I'm Maverick
He Xiaofei (8 years old)
I'm a head
A calf that was led away
morning
My mom led me to school
Hand the rope to the teacher
evening
The teacher led me to the door
Hand the rope to Daddy
night
Dreams are my factory for creating freedom
You don't need wings to fly everywhere
forget
Ji Yanzi (6 years old)
One time I forgot to bring a language book
The results can not be read early
One time I forgot to bring a phonetic book
As a result, I couldn't write
One time I forgot to bring an eraser
As a result, the miswritten words can't be erased
Once I forgot to bring a ruler
As a result, the lines are not straight
One time I forgot to bring my school bag
As a result, he was scolded
I brought my bag today
I brought language books
I brought a phonetic book
Brought an eraser
Brought a ruler
As a result, I forgot
Today is a holiday
Your home hurts you
Xia Xiaotian (8 years old)
Oh no, there was a quarrel
Dad stared at him and couldn't finish talking
Mom picked up the pot and threw it on the ground
I stood bravely among them
Shout out "Stop arguing".
Your home hurts you
Theory Garden
Wang Yizhen's Theory of Children's Poetry Creation
Liu Xiaoyan
College of Liberal Arts, Lanzhou University
About the Author
Xiaoyan Liu, associate professor, is the deputy dean of the School of International Cultural Exchange, Lanzhou University. He received a Master of Arts degree in 2002, mainly engaged in international Chinese education and children's literature research. He has presided over and completed the social science planning project of Gansu Province, the international Chinese education research project of the Center for Chinese and Foreign Language Exchange and Cooperation of the Ministry of Education, participated in the National Social Science Foundation project and the humanities and social science planning project of the Ministry of Education, and published many related papers.
Abstract:Wang Yizhen is one of the most representative writers in the field of Chinese children's poetry in the new era. He captures poetry with a childlike heart in daily life, writes about nature and life in the eyes of children with the thickness of the life of an adult writer and the nourishment of his homeland in the northwest, and sings about their feelings and stories. His skillful use of poetic language and the perfect combination of form and content have enabled his children's poetry creation to reach a high artistic level.
Keywords: Wang Yizhen, children's literature, children's poetry
Funds: This paper is the interim result of the National Social Science Foundation of China's Social Science Academic Society's Thematic Academic Activities Funded Project "Research on the Evolution and Development of Chinese Children's Poetry in the Past Century" (Grant No. 20STA065).
Wang Yizhen has been praised by the children's literature critics as "the flute king of the northwest" and "the third artistic peak of contemporary Chinese children's poetry". His children's poetry creation began in the 70s of the last century, and so far, he has published more than 2,000 poems and more than 500,000 words of fairy tales in more than 100 newspapers and periodicals such as "People's Daily", "People's Literature", "Juvenile Literature and Art" and "Children's Literature" in China. He has won various important awards and book awards for children's literature, and his works have been included in various editions of Chinese textbooks for primary and secondary schools.
Wang Yizhen is an all-round poet. From the perspective of poetry genres, there are nursery rhymes, fairy tale poems, children's lyric poems, children's prose poems, and campus recitation poems; from the perspective of audiences, they run through children of all ages in a broad sense, from toddlers to adolescents; from the perspective of themes and styles, some are fresh and natural, lively and vivid, some are passionate and generous, sonorous and firm, and some are deep and heavy, subtle and simple. Tan Xudong believes that Wang Yizhen's children's poems are "the product of the combination of the art of poetry and the poet's life experience and the poet's modern view of children" [1]. In today's vigorous development of children's literature, the overall care and in-depth analysis of the creation of such an excellent children's poetry writer will help us to further precipitate our understanding of children's poetry and its value.
1. "Awe" of childlike innocence
In writers who have written for children throughout their lives, we can often see a kind of childlike innocence and purity that remains the same. Wang Yizhen is such a poet who has been writing for children, he has always been devoted to the world of children, capturing poetry with a childlike heart in daily life, and immersing himself in it. Wang Yizhen said: Poetry is the shining light of life itself, and the source of this light is precisely the lively and lovely childlike heart [2].
The manifestation of children's cognition and thinking is to give everything its own life characteristics. This process is to take the perception of the body as the coordinates to form an image in the objective world, which is also the primitive thinking of human beings who are the same as the self. Wang Yizhen's poems are full of such cognitive and thinking characteristics that belong to children. All the imagery is preceded by a pair of children's eyes. Therefore, small flowers, small grasses, small trees, dewdrops, birds, butterflies, sun, moon and stars, wind and rain rainbows...... They all have a life as lively as a child. For example, "The smoke has risen/The village has a long yawn/The village is sleepy/The village is about to sleep" ("In the evening, a little boy")[3]146;"The snow is full / The thin street / The side street is fat / The side street is wearing a duck down suit" ("The Little Street of Dawn")[4]16.
Like many children's poetry writers, Wang Yizhen likes to sing the praises of spring, and his spring has the same image as a child. For example, "Early Spring": "I heard that the spring is younger than us / The spring runs barefoot on the earth / Only the dew drops take a small photo of him / Look, the spring smiles in the little dewdrops". [5] 4 The image of a barefoot woman running on the earth is both a child and a spring, and the two are one and the same. In "The Feeling of Spring", "Spring pinched my hands/My hands sprouted/Spring patted my shoulders/My hair bloomed into flowers/I talked for a while in the spring/My toes took root". [6] 16 "Sprouting" and "blooming" are not only "my hands" and "my hair", but also vigorous vitality and novel and agile imagination. Such sentences are not only full of childlike fun, but also contain the characteristics of children's lives. In the preface to The Tale of the Di King, Jin Bo once said, "Only those who return to their childhood with all their hearts will have this 'feeling of spring'"[6]1-6.
Jiang Feng said: The characteristics of children's poetry are the combination of the characteristics of poetry and the psychological characteristics of children, and it is rich in stories and images. [7] 47 For example, "Blue Eyes and Long Eyelashes": "The little pond is so blue and bright / It is one of Mother Earth's eyes / Always open / / Mother Earth / wants to have a beautiful dream / But the eyes / Always can't close // We planted a circle of little trees around it / The little tree has grown thick / The little tree has grown taller / The eyes have long eyelashes / / Now / Its eyelashes can be gently closed / Mother Earth / Can have a sweet dream". [6] 141-142 From Mother Earth wanting to have a sweet dream, but her blue eyes never closed, to when we plant a tree—the tree grows—the little tree becomes Mother Earth's eyelashes, and finally Mother Earth can close her eyes and dream. A short children's poem presents a story with ups and downs and a complete plot. The warm and beautiful imagination allows adult readers to enter the world of fairy tales.
Poetry is the art of imagination. Children's imagination is different from that of adults. The biggest difference between children's poets and ordinary people is that they have the pure heart of a child. Therefore, Wang Yizhen's poems are full of the imagination that this creation deliberately gives to children. For example, "The Trouble of the Tree": "A little bird / told a tree many stories of flying / The tree cried when he listened / The tree is also a bird / The tree has many wings / / The tree can't fly / The trouble of the tree / It is a dream of flying at night". [6] 175 The tree is not still and silent, it is also a bird, its leaves are its innumerable wings, it is rooted in the earth, but it has the dream of flying like a bird, because it cannot fly, so its distress is the dream of flying at night. Here, the tree is a distinct and unique image, which is very different from adult literature, and is the perfect fusion of the artistry of poetry and children's imagination, forming a unique "poetic nature" of children, reflecting the characteristics of contemporary children's poetry to a mature stage.
If happiness and innocence and whimsy are the poetry of children, then the poetry of teenagers is more deep thinking, and there are more melancholy but warm feelings of boys and girls. "Days Without You", "Lost Lovesickness" and "Your Gaze" write about lovesickness and love; "Seeing You in Four Seasons" writes about acquaintance, acquaintance and separation; "Apple Dream in Summer" writes about the loneliness of a 14-year-old boy who goes to the city to study in middle school, and his mother's letter brings him happiness...... These emotions, different from the happiness in children's songs, are the scenery of the flower season and the rainy season, and they belong to the story of youth. Wang Yizhen uses his poems to tell us that poetry not only exists in the stories of childhood, but also in the shyness and secrets of young boys and girls, and in the variations of youth. "Shixin is also a teenager, maybe the same age as you" ("Juvenile Shixin")[6]92. In the young boy's heart: "Melancholy and joy / Like two little rivers / Coming together / Bubbling / Buggling into the distance" ("The Little Street of Dawn")[4]17. The poet knew the secret of the boy's heart and whispered to them: "Don't say it / The secret of your heart / I know...... I know / The secret of your heart / Will grow into a towering tree / But now, it is still a seed / Spring has not yet come / Before it sprouts" ("Don't Speak, The Secret of Your Heart)" [4]18-19.
For readers of different ages, Wang Yizhen's poems have different realms and levels, different expressions of imagination, and different poetic styles. For example, "The Dream of Little Flowers" and "The Self-Statement of the Wind" are also written about the wind, but in different styles. The former is fresh and lively, playful and smart, like a cute child: "The naughty little wind / blows the dream of the little flower / Blows a crack // It wants to see / In the dream of the little flower / Is there a star that can sing // It wants to count / In the dream of the little flower // It is composed of several beautiful colors // Who knows from that crack / A few drops of crooked birdsong drip out"[3]106-107; The latter is free and uninhibited, confident and free-spirited, corresponding to the high-spirited boy: "Maybe as soon as I fall from the grass / I will be born in the arms of the mountains / From then on, I was with the mountains/Wandering in the mountains, running in the mountains//...... Nature has mountains and waters, I have ups and downs/There are sunny and rainy days in life, I cry and laugh/The sky and the earth are very big, I seem very small/Day and night are reincarnated, the sun and the moon are equally beautiful//...... It doesn't matter if you don't want to go to hell, or if you don't take it in / The world is full of roads, and I have my own freedom, my freedom, my leisure"[5]205-206.
The poet played exquisite music in different bands. Wang Yizhen himself once said: "I have only one experience of poetry creation, and that is the awe of childlike innocence." In the article, he wrote: "As far as children's poetry is concerned, it is not big enough in terms of length, but it is like a small dew drop, and there is a big sun hidden in it...... There is a big world hidden in the small poems. He believes that "poetry is the literature of the inner point of view, and it can also be said that poetry is a literal representation of a person's inner picture." ...... With the help of the characteristics of poetry, we should enter the hearts of children and have a dialogue with their inner world. [8] Combined with the theory of "awe", we can find that this is Wang Yizhen's concept of children's poetry. We know that "child" is a broad concept with different segments within it, and the differences in characteristics of different stages may be greater than we think. Children of different ages have different innocences, so in order to reproduce what children of different ages think and feel, and to sincerely talk to children of different ages, it is necessary to "return" to different periods of childhood. Because of "awe", his poems are not adults looking down on children, nor are they simple imaginations of adult writers about children's innocence, but they are integrated into his most delicate observation of childhood life and children's emotions. Poetry changes from time to time, from event to event, from situation to situation, and from object to object, but the only thing that remains unchanged is to always have that ideal - to reflect the sun's rays in small dewdrops. This is a rare and valuable empathy ability of adult writers who write children's literature, which is combined with artistic talent and creative consciousness to determine the quality of the work.
2. "Hold" the soil
Wang Yizhen wrote in one of his poems called "The Tree": "You are a writer / A native writer / You hold the soil / Hold life with your fingers / / You have spent your whole life writing a series of stories / A series of stories for children to read." [4] 7-8 This can be described as a poet's self-portrait. "Born and raised" is a subtle pun, the author uses "holding" the soil and life to describe the source of life of his poetry - the silent and thick yellow earth under his feet, and the 800-mile Qinchuan River winding behind him. In his "21st Century Campus Lyric Poems", there is a special series called "The Watch of the Plateau", which includes the images of millet in northern Shaanxi, jujube in northern Shaanxi, Yangge in northern Shaanxi, suona in northern Shaanxi, Xintianyou in northern Shaanxi, Ansai waist drum, Ansai paper-cutting, as well as sunflowers on the Loess Plateau, charcoal in Wayaobao, etc. They all have a clear face and a unique personality. The poet's ancestral home is Shandong, but he has lived in Shaanxi for a long time, for him, Shaanxi is his hometown, he is very familiar with the local folk customs, so full of affection and love, read them to children, write for children. He wants to pass on this love to his children, so that they can also taste and feel the unique taste of his hometown. For example, "Country Sunshine": "We are a wheat, corn or sorghum plant in our hometown / We draw the juice of the sun, the fragrance of the sun / Every full grain can bring out the weight of the sun." [5] The high-spirited rhyme and rhythm of the 60 poems convey love and pride from the bottom of the heart.
There is also a song "Father from the Countryside" that Chen Zhongzhong likes very much: "Father from the countryside / Father in the countryside / Stretches out his rough hand / Holding four seasons in his hand // Father from the countryside / Father in the countryside / Fan the wind with a straw hat / Fan out a string of birdsong // Father in the countryside / Sleep with me // In the dead of night, my father's bone joints are stretching // A frog sound pops out of the bone joints." [5] 97-98 Chen Zhongzhong believes that such poems do not need and are not suitable for interpretation, and that it is difficult for any clever interpretation to achieve the charm and meaning beyond subtle language, and only when reciting can we fully feel its beauty and revel in endless indescribable emotions. [5] 1-7 This indescribable emotion actually comes from the author's life experience. The most important characteristic of adult writers writing children's literature is that they consciously or unconsciously incorporate their own life experiences into simple poems. This experience is intangible, hidden behind the work. However, to borrow the metaphor used by Wang Yizhen when talking about creation, it is the process of "brewing" the objective world, which can turn rice into wine. And the deeper this experience, the more mellow the wine. For example, the big locust tree ("The Big Locust Tree") in his poem "has stood for hundreds of years" folds the joys of childhood, the memories of adulthood, and the vicissitudes of history. The integration of adult feelings and children's tastes has the span of time and space and the thickness of history, making the layers of poetry rich and three-dimensional.
Wang Yizhen also has many poems like this, not only joy, growth and hope, but also affectionate nostalgia and earnest teachings, hidden behind them is the depth of love and the weight of life. Poems on the theme of motherhood are the most representative. For example, "Mother's Laundry Stone" "scrubs" the years, "Mother's Hand" "twists" the days, "holds" the fate, and the mother's envelope contains the countryside ("Mother's Letter (II)").
The poet also "dries it" his mother's instructions: "When I leave/I pinch a section of my mother's instructions/Put it in the sun/Dry it in a small travel bag/When I'm hungry/Chew a little/When I'm thirsty/Chew a little/A little dried word/Chew it/It will take me a lifetime" ("Mother's Instructions"). [5]239 This is a brilliant idea, derived from the life experience of a generation that would dry and preserve fresh vegetables in an era when the essentials were less plentiful, stockpiling up nutrients and delicacy for the long, cold winters. If "drying" bears the mark of the times, then "taking a lifetime to chew" is the charm that the poet with rich life experience wants to convey behind the smart and playful analogy. Mother is the embodiment of her hometown, with frog sounds, birdsong, folk songs, lanterns, and ..... It is all the nourishment and call of family affection and nostalgia. The poet sings affectionately in it, and the verses contain the freshness and sweetness that only children have, and the mellow and long that children do not have.
Because of this character, Wang Yizhen's poems have become the object of cross-border reading for readers of different ages. For example, "Mom is gone": "Mommy is gone/But Mommy's eyes are still in the small room/It's like two twinkling stars/Quietly staring/Staring at the sweet smile on my face//...... Mom is gone/But Mom's dreams are still in the little room/Like a playful balloon/Accidentally blown by me/I found that in every dream/There is a little me"[3]102-103. This plot of "Mom is gone", in the eyes of children, is the mother leaving home temporarily, with fairy words, light and cute. However, people who have gone through the vicissitudes of life and look back at their childhood can read another layer of meaning that makes people cry, conveying the eternal emotions of human beings. Tang Rui wrote in "The Ontology of Modern Children's Literature": Because the writer as an adult has injected all kinds of thoughts and insights accumulated in his life experience into the creation of children's literature, children's literature not only has the aesthetic representation system of childhood modality, but also has the deep aesthetic connotation of adult thinking, which has formed the unique stylistic characteristics of children's literature to express the most profound life connotation in the most simple and clear art form, which is where the special aesthetic charm of children's literature lies. Children's literature is a creative genre that attracts adult children's literature writers not only because of the innocence and loveliness of childhood, but also because of the subtle relationship between the unique aesthetic representation system and the deep connotation and artistic expression of children's literature. [9]222
The same is true of this song "Acacia": "In a foreign land/I am savoring sorrow/I always feel that there are clouds rising from your lipstick/Invite me to swim in the sky/I always feel that there are stars made of your teardrops/Shining above my head/I always feel that the road extended by your eyes touches my soul...... I'm wondering how it feels to be in a different place / How will it be different from home / Maybe I'll always be a traveler / Even if I go through my life / It's hard to get out of your state of mind." [3] 28-29 For young boys and girls who are in love for the first time, the "you" in the poem is a lover in one day and three autumns, young and beautiful; "Acacia", a universal emotion, shows its inherent richness due to the multi-layered nature of adult writers' creations.
3. "Touch the light" language
It is said that poetry is the jewel in the crown of literature, the highest form of literature. It has higher requirements and more concentrated embodiment for the expression of emotions, the use of language, and the grasp of form. Children's poetry is also poetry, and all the characteristics and requirements that belong to poetry are fully applicable. In addition, there should be a selection of images that are in line with children's cognitive characteristics, emotional expressions that are in line with children's age, and children's rich imagination. Of course, all emotions and images, all imaginations, need language and form to present them. A good poet has a good grasp of language and form, and it seems that it comes at his fingertips casually, but there is a "scrutiny" behind it. Wang Yizhen has a poem called "Touching the Bright": "I touch a word/From tender to old/I want to touch it/I touch a sentence/From green to yellow/I want to touch it." [5] 283 Chen Zhongzhong's preface to his 21st Century Campus Lyric Poems also mentions this poem, and also links it to Hemingway's "finding your own sentence", which is considered to be a portrayal of Wang Yizhen's pursuit of poetry perfection, from which we can appreciate how he seeks up and down in the world of poetry.
On the basis of reverence for childlike innocence and unleashing imagination, at the level of language, Wang Yizhen's children's poetry creation has "skills" to pursue and learn. This skill is first and foremost manifested in the use of language. Children are good at perceptual thinking, and perceive the world through sight, hearing, smell, and taste, and everything in the world is present in their senses. Therefore, Wang Yizhen depicts and creates imagery through pictures, movements, sounds, and tastes, and "brightens" his poems. For example, this song "Autumn is Coming Away":
Mother gleaning in the field/Bent waist draws the arc of the years/Mother is collecting firewood in the field/Winter starts from the mother's fingertips//The house is full of silly potatoes/Sleeping fragrantly and ripely/The basket of apples warms each other and fragrances each other/The red face is like a shy mountain girl//Mother stands at the entrance of the village and calls her son's milk name/The flying milk name teases the little dog running forward and running and jumping and chasing/The little shepherd boy who entered the village shook the whip a few times/The milk name was crushed and broken into crystal dew on the blades of grass// In the evening, the red sun has sunk into the valley / Mother's oil lamp is on, and mother is sewing and mending under the lamp / A nursery rhyme on her lips accidentally drip into the folk lamp bowl / The bright flame is like a flower tree blooming at night
The curvature of the mother's bending over is like a silhouette, forming a static picture of light and dark and bright colors with the silly potatoes and red apples, and the puppy jumping and chasing, and the shepherd boy flicking his whip, is a lively and dynamic picture with a loud voice. The red sun sets, the mother mends under the oil lamp, the nursery rhyme humming on her lips, the flame blooming in the lamp bowl...... There are colors, sounds, and a quiet and warm picture, creating a moving artistic conception, taking readers to observe and experience the love and beauty in life, so that they can obtain aesthetic pleasure and edification.
Children's senses of hearing, sight, touch, and taste are not isolated from each other, but blur the boundaries and often feel free, especially in imaginary worlds. Therefore, the poet will borrow different senses from each other, the name of "flying" will be "broken" into crystal dew by the whip, and the nursery rhyme on the mother's lips will "drip" into the lamp bowl. This kind of rhetorical art, which can be called "synaesthesia", abounds in Wang Yizhen's poetry, and has formed a kind of "know-how" of his poetry. In "Evening Sorrow", the poet can write "sorrow" into a sound, depicting a picture of a summer night full of sound and emotion, vivid and expressive, incomparably exquisite: "Sorrow is like an egg/Picked up by a cricket to hatch/Hatched a faint lamentation/It jumps on the round blade of grass/Sings with a bright voice/Sings the stars/Sings the moon/The stars and the moon are in a panic/I don't know how/Comfort me." In "Return from the Sea", the heart is like the sea, "very blue and blue", and the words are like the sea, "very salty and salty". "Three Girls Sitting on an Old Mulberry Tree": "The caterpillar makes its hands with many legs / Light and light / Picks up three laughs / Three laughs fall into the creek / The ducks and geese see / With their flat beaks / Peck happily". The use of "flower" as a measure word for laughter has a shape and color, and laughter is first "plucked" by a caterpillar, then "falls" into a small river, and then has consciousness and movement. Vibrant, agile life forms come to life.
In the eyes and hearts of boys and girls, a smile can not only "pick one", but also "take a sip":
"Pick a flower of your smile / hairpin in the sideburns / the years will no longer come / youth will always be charming / / take a sip of your smile / like drinking a glass of wine / the lungs are puffed with fragrance / the mood is comfortable ......" ("Your Smile"). Another example is "The Meditations of an "Older Girl": "Yue'er looked at me / smiled round / forgot the pain of being mutilated again and again / smiled very round and round". Among them, "Laughing very round and round" borrows the moon to write memories and contemplations of love, a pun, which makes people can't help but applaud.
Wang Yizhen has always advocated the promotion of poetry education among children, and he has practiced it personally. In the article "Why Do We Carry Out Poetry Education", he mentioned that carrying out poetry education is conducive to inheriting the traditional culture of the Chinese nation and helping children learn the mother tongue of the motherland. There is no end to grasping and learning your mother tongue. Poetry, as the art of language, is itself a demonstration and exploration of the use of language. We can see that Wang Yizhen has always explored the tension and beauty of the Chinese language in his poems, and has reached a very high level, providing an example for the artistic use of his mother tongue.
Poetry is also different from fiction prose in its musicality. Poetry is also an art of sound to a certain extent. Wang Yizhen said that musicality has internal musicality and external musicality, which can also be called internal rhythm and external rhythm. He fuses the ups and downs of the poem's emotions, the musicality of the language itself, and the rhythmic beat brought by the poetic form to form a sense of musicality that is both inside and outside. For example, "The Path to School": "The little tree shines with green leaves/The green leaves hold up the dew/The dew drops fall in the forest/Becomes a small mushroom//The sun filters the birds/The fragrance of the flowers refreshes people/The clouds slip into the stream/The seeds quietly break the ground." Vibrant imagery is embedded in loud and neat rhythmic beats, jumping towards us.
In advocating and advocating poetry, Wang Yizhen attaches great importance to the recitation of poetry. He also wrote the "21st Century Campus Reading Poem". Yin Shilin mentioned in the preface to this collection of poems: In the era when there were no words and writing tools, poetry was passed on by word of mouth, and musicality should be an organic part of poetry, the form of life of poetry, so poetry should "fly", that is, be recited with its own rhyme and rhythm. In the melody of the times, Wang Yizhen sings about the motherland, the new century, tomorrow, sincerity, exploration, the mother river, and volunteers. For example, "I am a piece of land in the great northwest": "I am a piece of land in the great northwest / My surroundings exude seductive mystery / I am the desert wind, I am the sand dunes, I am the clouds / I am the red willow, I am Hu Yang, I am the snowy region / I am barren, I am desolate, I am lonely / I call all the pioneers into my hinterland". With the neat rhythm and sonorous rhythm, with a sincere and loud voice, it inspires children and children, and sings out the strong voice of the times that belongs to children and teenagers.
In fact, because Wang Yizhen is very particular about rhyme, almost all of his poems are catchy and suitable for recitation. However, according to the content and style of the poems, some are tactful and delicate and suitable for low chanting, some are sonorous and powerful, suitable for loud recitation, and some are lively and cheerful, and somewhere in between.
In addition to this, in terms of the form of poetry, there are also unique manifestations worthy of attention. For example, "Stamps of the Four Seasons": "The little petals of spring / are stamps / on the mother earth / send the mother earth to the summer / / the little raindrops of summer / are the stamps / on the mother earth / send the mother earth to the autumn / / the leaves of the autumn / are the stamps / on the mother earth / send the mother earth to the winter / / the little snowflakes in winter / are the stamps / on the mother earth / send the mother earth to the spring". The cyclical structure, end-to-end, is a form that children like to see. At the same time, it conforms to the laws of nature and the rhythm of life, presents the beauty of order, and the content and form complement each other.
As critics put it, Wang Yizhen "combines the expressive techniques of modern poetry with the delicate and concise language of classical poetry", and his artistic practice "sets a model for the poetic creation of contemporary children's literature". In Wang Yizhen's hands, children's poetry, the most concise and subtle form of children's literature, shows its mature and beautiful appearance.
China is a country of poetry, and poetry has played a very important role in the growth of Chinese children. However, it is undeniable that in contemporary children's literature, poetry is not valued much compared to fairy tales, novels and other genres, and even "declined" for a time. Fortunately, because of writers like Wang Yizhen, who have always insisted on writing children's poems and advocating poetry education, contemporary children's poems shine in the corridor of children's literature with their timeless and flexible characteristics, exuding a unique brilliance and artistic charm that cannot be replaced by other literary genres.