The introduction in the afterglow is about 500 words

Born in Nanjing, Jiangsu Province in 1928, Yu Guangzhong, originally from Yongchun, Fujian, entered the Department of Foreign Languages of Jinling University in 1947 (later transferred to Xiamen University), moved to Hong Kong with his parents in 1948, and went to Taiwan the following year to study in the Department of Foreign Languages of National Taiwan University. He graduated in 1952.

In 1953, he co-founded the "Blue Star" Poetry Society with Qin Zihao and Zhong Dingwen. Later, he went to the United States for further study and received a master's degree in fine arts from the University of Iowa. After returning to Taiwan, he served as a professor at Poetry University, National Chengchi University, National Taiwan University and Chinese University of Hong Kong, and is currently the dean of the Faculty of Arts of Sun Yat-sen University in Taiwan.

Yu Guangzhong is a complex and changeable poet, and the trajectory of his writing style change can basically be said to be a trend of the entire Taiwanese poetry scene for more than 30 years, that is, first Westernization and then return. In Taiwan's early poetry debates and the vernacular literature debates of the mid-70s, Yu Guangzhong's poetic theories and works both strongly show a tendency to advocate Westernization, ignore readers, and detach from reality. As he himself put it, "As a boy, the tip of the pen was stained either by the aftermath of Heatoncree or by the waters of the Thames."

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After the 80s, he began to realize the importance of the place where his ethnic group lived to his creation, and "extended his poetry back to that continent", wrote many emotional nostalgic poems, and his attitude towards local literature also changed from opposition to cordiality, showing an obvious trajectory from the West to the East, so he was called "the prodigal son" by the Taiwanese poetry circle. From the perspective of poetic art, Yu Guangzhong is a "polygamous poet in art". The style of his works is extremely inconsistent, and in general, his poetic style varies according to the subject matter.

Poems that express will and ideals are generally magnificent and sonorous, while works that describe nostalgia and love are generally delicate and soft. He is the author of more than ten collections such as "The Sad Song of the Boat", "Blue Feather", "Stalactites", "Halloween", "White Jade Bitter Melon", etc.

4) The creative process in the afterglow.

a) The beginning of creation.

In 1948, at Xiamen University, Li Qingyun, the head of the Department of Foreign Languages, asked the students about their future aspirations in class. When it was his turn, he said proudly: I want to be a writer in the future! At that time, he had already tried his voice for the first time in Nanjing and Xiamen, and at least published it.

2) The trajectory of the transformation of the poetic style.

1. The period of Glea poetry (1949-1956).

It is represented by "The Tragedy of the Boat", "Blue Feathers" and "Heavenly Night Market". Most passages are two or three paragraphs, each with four lines and two or four sentences in rhyme.

2. The gestation period of modernization (1957-1958).

It is represented by the second half of "Stalactites" and Xiluo Bridge. Begin to derive long and short sentence patterns.

3. The modernization period in the United States (1958-1959).

Represented by Halloween. The University of Iowa's writing training and art courses inspired Yu Guangzhong's exposure to modern art, and he generally absorbed Western **, and his works had a tendency to be abstract.

4. The period of nothingness (1960-1961).

Represented by the first half of "Sirius" and "Wuling Boy". In the afterglow of this period, the illusion of a hero was created in the melancholy and pale of Westernization, and it was impossible to ask for warmth from tradition. The works often reveal the general mourning of the end times, but they can never be separated from the tradition, and there is a sense of vacuum.

Sirius projected not only the helplessness and emptiness of individuals or poetry, but also the doubts of a culture and nation about tradition and the acceptance of external shocks.

5. Neoclassical period (1961-1963).

It is represented by the second half of "Wuling Boy" and "The Association of Lotus". Whether in the inter-relief of the text, in the contrast between the syntax of the single track and the syntax of the double track, and in the variation between neat segments and irregular branches, The Association of the Lotus pushes the lyrical tradition of Chinese literature to another peak in a binary way.

6. Go back to the period of modern China (1965-1969).

Represented by "Percussion Music" and "In the Age of the Cold War". The analysis of the self, the metaphysical theme, the two-sided exploration of the same theme, and the contrast between sex and war are all profound. Skill and thinking reach the peak.

7. Folk style period (1970-1974).

Represented by "White Jade Bitter Gourd". The work absorbs the romantic spirit of rock music, and faces the current reality with the national consciousness of returning to the homeland. At this stage, he also broke free from the confusion of "who am I", and promised himself as a night watchman, looking forward to his eternal poetry through the suffering of life.

8. The period of exploration of history and culture (1974-1981).

Represented by "Tug of War with Eternity" and "Guanyin across the Water", the poems are gradually more intellectual than emotional, and they are less deliberately forging words and sentences, but tend to let them be natural.

9. The autumn harvest period (after 1981) that realistically hurts the present and confirms life

It is represented by "Five Elements Unimpeded" and "High-rise Buildings to the Sea". During this period, Yu Guangzhong not only sang about family ethics, satirized the Han soul and Tang Soul, and penetrated the mysteries of life and death, but also multiplied the nostalgia of geography by the vicissitudes of culture.