On December 4, 2024, the Intergovernmental Committee for the Protection of Intangible Cultural Heritage of UNESCO listed the Chinese Spring Festival on the list of representative works of intangible cultural heritage of mankind. One year ago, on December 22, 2023, the 78th United Nations General Assembly designated the Chinese Spring Festival as a United Nations holiday, which provided an opportunity for the world to understand Chinese culture. In fact, the West has been paying attention to the Chinese Spring Festival for a long time. Especially the American poets represented by Eunice Tietjens, Charles Barkman and Lynda Hull interweaved the traditional ceremony of Chinese Spring Festival with the strong historical atmosphere in their poems, presenting a unique cultural tension. Eunice Tiggins' Chinese Spring Festival Eunice Tiggins (1884-1944) is a famous American poet whose poems are full of exquisite perception and profound thinking of different regional cultures. As one of the editors of the modernist literary magazine "Poetry", Dickens actively promoted the literary modernization movement and contributed to the dissemination of Eastern artistic ideas, including those from China, among Western audiences. At the beginning of the 20th century, her experience in China provided her with an excellent opportunity to observe Chinese culture. With a keen eye, she recorded China's festive activities and cultural landscape in her monograph "The Image of China" (1917), including the short poem "Chinese New Year". Both Chinese and Western New Year have the meaning of "renewal of all things", expressing profound thoughts on the cycle of life and the passage of time. In "Chinese New Year," Tikins emphasized the traditional cultural ritual of replacing the Kitchen God: "Mrs. Song has replaced the Kitchen God Lord with a new one,/the old Kitchen God has been guarding for a year,/now he has returned to the Heavenly Court,/reporting the family's affairs to the Heavenly Court." According to traditional customs, the old Kitchen God has been guarding the family for the past year, and when he returns at the end of the year, he will report the family's behavior to the Heavenly Court. In order to receive the favor of heaven, Ms. Song prayed for the Kitchen God to speak kindly for her family in front of heaven. Therefore, she smeared sugar on the Kitchen God's mouth: "Before burning the old Kitchen God, Mrs. Song used sugar/smeared his lips; the purpose was to ensure/report pleasing people." Tikins depicted Ms. Song's contradictory psychology, on the one hand, she respected the authority in folk customs, but on the other hand, she "manipulated" the gods by sealing her lips with sugar. This seemingly simple act of praying reveals her inner desires. Then, she purchased a beautifully painted new Kitchen God with ten copper coins, with brighter colors and more exquisite painting skills, hoping that the newly hired Kitchen God could continue to bless the whole family. With the arrival of the new Kitchen God, the home was filled with a festive atmosphere: "Now she has invited a new Kitchen God,/spent ten coins,/painted the statue brightly and vividly;/refreshed, it should be more magical,/the home is filled with joy." Regarding the folk behavior of replacing the Kitchen God during the Spring Festival, Tijins holds a more dialectical attitude, and purchasing the Kitchen God has sparked her exploration of materialization and value. On the surface, this behavior undoubtedly commodifies the Kitchen God, that is, the gods are no longer purely objects of faith, but items that can be given value or rank through money, reflecting a utilitarian attitude towards the gods. However, during the important time of the Spring Festival when the Kitchen God was replaced, Tikins also accurately grasped the micro scene of folk life. This blessing process symbolizes the end of the old year and the beginning of the new year, implying hopes for a peaceful life. Charles Bachmann's When the Chinese Spring Festival is Coming, an American poet, Charles Bachmann, can be regarded as an important figure in the early 20th century's study of Chinese literature. His creation played a role in introducing China to the world. In the preface of the poetry collection "Yan You Shi Cao" (1923), Bachman highly praised China: "She is a country full of infinite possibilities. Her enormous resources are still unknown to this day. No one can surpass her diligent habits and love for peace." This poetry collection includes more than 40 poems, including ordinary people such as rickshaw pullers and farmers, as well as legendary figures such as Guanyin, Pangu, and Zao Shen. It also mentions historical buildings in Beijing such as the Temple of Heaven and the Great Wall. The value of 'Yan You Shi Cao' lies in its ability to introduce Chinese beliefs and history to the world through a comprehensive and multi themed approach, using the artistic form of poetry. It is an important medium for cross-cultural communication. Among them, the poem "When the Chinese Spring Festival is coming" shows his unique perception of the Chinese Spring Festival. Upon closer reading of this poem, one can discover that Bachman understands the Chinese Spring Festival using the Western concept of "birthday". British writer Charles Lamb proposed an interesting viewpoint in his essay "New Year's Thoughts", that is, everyone has two birthdays, the first of which is the birthday anniversary, but he believes that the significance of this birthday celebration has gradually faded away; The second birthday is the first day of the new year (January 1st), which in his opinion has a more universal and profound significance. Coincidentally, Bachmann also believes that the New Year has a new meaning, and attaches this meaning to the Chinese Spring Festival: "The Chinese Spring Festival - usually changes about a month after the Western New Year, and its celebration lasts about a month. This is the only long holiday in the Chinese lunar year. During this period, everyone ushers in a common birthday and receives congratulations from others." It can be seen that Bachmann regards the Chinese Spring Festival as everyone's festival, which is an opportunity to plan a new start. To celebrate his birthday in the East, Buckman carefully planned his work and life. We have been planning what we need to do throughout the quarter,/we have been making plans;/we have been making decisions, vowing to achieve them. "The poem repeatedly mentions that the Spring Festival is a time for planning, which includes both cultural exchange and personal life arrangements. He plans to "visit a college friend and stay for a whole week", and also wants to "take a transoceanic boat to Manila" and "rush to Beijing quickly, leaving behind troubles and disputes". If possible, he is also planning to "reply to the letters owed since the departure date,/or spend a whole month's salary repairing teeth;/and also tidy up the wardrobe without further delay". The interweaving of work and leisure reflects the multiple meanings of the Spring Festival in Chinese and Western cultures: for Chinese people, the Spring Festival is a time to make wishes and pray for blessings; For Bachman, he grafted the Western culture's "New Year's resolution" behavior onto the Chinese Spring Festival, viewing it as the starting point of his personal annual plan. The concept of "bidding farewell to the old and welcoming the new" during the Spring Festival coincides with the expectations of Westerners for the new year, becoming a common point of cross-cultural understanding. Through the Spring Festival, Buckman felt a universal human emotion, namely the hope for the new year and the desire to achieve plans. This emotion transcends cultural differences and brings Chinese and Western cultures closer together. Linda Hull's "Chinese Spring Festival" Linda Hull is a famous American poet in the poetry world. She is famous for depicting the life of American cities and the style of the bottom. Her works have won the Juniper Poetry Award, Carl Sandburg Award, Edwin Ford Piper Award and other important poetry awards. Later, Hull married a Chinese from Shanghai and the couple lived in various Chinatown communities in different cities. Hull's understanding of Chinese Spring Festival originates from the Chinatowns in various cities. His work Chinese Spring Festival depicts the traditional Chinese festival aesthetics from the perspective of the first person narrator, and at the same time expresses the complex feelings of homesickness and rooting. It is a poem full of images. Combined with his wandering life experience, after deep contact with the Chinese community, Hull recorded the sensory feast of Chinatown and had a deep understanding of his own identity, and these themes became important elements in the poem Chinese Spring Festival. The Spring Festival in Chinatown continues China's traditional festival culture and serves as a bridge for cultural exchange between the East and the West. In the celebration activities of these communities, dragon and lion dance performances to ward off evil and avoid disasters are indispensable, becoming a landmark scene of Chinatown's Spring Festival celebration and attracting a large number of audiences. The windows are adorned with square colored window decorations, and people are dancing dragons on the street outside. Following the dragon dance procession, Herr witnessed someone leaning against the telephone booth at the top of the red tower, presumably a wanderer who was unable to reunite and was expressing their longing over the phone. It can be seen that Herr focuses on visual elements such as colorful window decorations, dragon dance teams, and telephone booths decorated with red towers during the Spring Festival, which have distinct Chinese cultural characteristics and reflect the sense of ceremony of the Spring Festival as the most important festival in China. Hull is also good at highlighting the characteristics of Chinese Spring Festival from the perspective of smell. The air is filled with the smell of sulfur, which is the smell of firecrackers. Then, the air is mixed with the smell of ginseng and black fungus, which permeates the stairs and corridors, recording the banquet ingredients prepared by Chinese people during festivals. Ginseng and black fungus are both precious treasures, and in his description of maintaining a sense of distance, Herr recorded the Chinese residents' emphasis on a healthy and healthy lifestyle. Not only that, during the lively celebrations on the streets, people passed on rice wine, and the whole Spring Festival was filled with a rich aroma. Through the description of smell, the poet makes the scene of the Spring Festival more three-dimensional. This exquisite observation conveys the lively atmosphere of the Spring Festival, and also provides foreign readers who do not know about the Chinese Spring Festival with a sense of substitution. In Chinatown, Chinese people convey family values through Spring Festival activities. The care for their families makes the Chinese community cherish life and miss their deceased family members, so the Spring Festival has become an opportunity to worship ancestors. Herr noticed that 'people are exchanging gold and silver foil, soothing souls who wander and crave wealth'. Her husband also purchased several highly symbolic New Year's goods from the street to express his admiration for his ancestors: "He brought fish. He brought lotus roots,/He also brought me paper money. Fish has the meaning of surplus every year, conveying people's expectations for material abundance; Lotus root, on the other hand, has the meaning of a broken lotus root, symbolizing the inseparable connection between future generations, ancestors, and hometown. Paper money is a symbol of wealth offered to deceased family members in Chinese folklore, used to convey the concern of living descendants for their ancestors. At the beginning of witnessing the Spring Festival celebration, Hull always maintained a distant perspective. She observed the hustle and bustle of the streets, feeling the unfamiliarity of culture and the barrier of language. She wrote, 'I am almost transparent, my hands seem to easily penetrate through me. This is a state of alienation, my name is lost from me, and it is difficult to understand like those shop signs.' The hustle and bustle of the Spring Festival highlights her inner loneliness. Despite being at the center of this festival, she seemed like a bystander, out of place with her surroundings. This cultural alienation is not only manifested in language barriers, but also in her sense of distance from festival traditions. Hull's initial feelings are not difficult to understand. After experiencing the hustle and bustle of life, she, who was accustomed to wandering, had already developed a sense of distance from her American identity at that time. At this moment, she was cautiously observing customs from the East from the perspective of others. Fortunately, despite the sense of alienation, the poet is still striving to understand and accept Chinese culture. "On the low table, I'm cooking chrysanthemum tea", "The signboard 'Jade Palace' outside the door reflects the emerald light", these details show her perception and experience of the Chinese Spring Festival culture. The Spring Festival has restored Hull's identity and sense of security. 'I am waiting, waiting for my husband/passing by downstairs, coming upstairs to find me'. Hull looks forward to family reunion, which transcends cultural differences and is a shared spiritual attachment for all humanity. so to speak,