Qinyuan Spring·Snow
Mao Zedong
The scenery of the North is covered with ice for thousands of miles and snow drifting for thousands of miles.
Looking inside and outside the Great Wall, there is nothing but vastness;
The river suddenly stopped flowing up and down.
Silver snakes dance in the mountains, and they are like wax figures, hoping to compete with the gods.
On a sunny day, the red makeup looks particularly enchanting.
The country is so beautiful that it attracts countless heroes to bow down.
I regret that Emperor Qin and Han Wu were slightly less talented in literature;
Tang Zong and Song Zu were slightly less elegant.
The genius of the generation, Genghis Khan, only knew how to bend a bow and shoot at giant eagles.
It’s all gone, let’s count the famous people, but let’s look at the present.
Appreciation of "Qinyuan Spring·Snow"
Appreciation of "Qinyuan Spring·Snow"
Snow, pure and pure, is the sustenance of taste and the embodiment of personality.
Since ancient times, poets and poets have mostly used snow as their theme; poetry circles and literary gardens have often written works praising snow. Mao Zedong also had a special interest in snow, and he often had beautiful words and sentences praising snow. However, the special chapter has one sigh and three songs, but this article ranks first. Not only that, this piece is also Mao Zedong's earliest song handed down to the world, and it is also the one that has caused the most singing and controversy. The most fundamental thing is that this poem is the first full display of Mao Zedong's poetic talent and the first artistic manifestation of Mao Zedong's rich and noble spiritual world. With so many firsts in one, this poem naturally plays an important role and is highly anticipated.
“With a first-class embrace, first-class knowledge, there are first-class true poems.” (Qing Dynasty Shen Deqian’s “Speaking of Poems”). Mao Zedong's poem is the culmination of ancient and modern poems praising snow. Its majestic and majestic spirit can truly be said to "sweep across the world and sweep away all eternity" (Liu Kezhuang of the Song Dynasty, "Preface to the Collection of Xin Jiaxuan").
The first part of this poem is written in broad strokes, describing the snowy scene in the north; the second part is full of discussion, commenting on ancient and modern figures. The top and bottom blend together to form a vast world of time and space, creating a perfect and unique artistic whole, showing the extraordinary spiritual realm of a great proletarian revolutionist.
"The scenery of the North Country, thousands of miles of ice, thousands of miles of snow", sings loudly at the beginning, and the writing is extraordinary, summarizing the severe winter snow scene in most of China. When poets sing about snow, they do not just focus on the snow, but write about the majestic mountains and rivers of the motherland and comment on the long history of the motherland through learning. This means that what they see is broad and what they discuss is profound. The first sentence begins to unify the geographical objects of singing, covering half of China in one stroke. Two or three sentences describe the characteristics and highlight the topic. "Thousands of miles" and "ten thousand miles" are derived from the two characters "Northland", which spread out from the ground to the sky, and the extreme range is wide and deep; "ice" and "snow drifting" are derived from the two characters "scenery", each stillness and one movement set off each other, outlining the harsh winter The mighty majesty. Twelve words form a majestic and majestic picture that encompasses heaven and earth, providing a huge artistic space for the following descriptions, and the passionate emotion envelopes the entire article.
The next seven sentences are led by the word "wang" and handed out in three layers, specifically depicting the various sides of the ice and snow on the scroll, further expressing the heroic and passionate feelings. You see: from north to south, "looking inside and outside the Great Wall, all that remains is vast", it is a vast expanse of snow, echoing the "thousands of miles of snow falling"; looking east and west, "the river up and down, suddenly stopped flowing", it is a cold and majestic The solid ice responds to the "thousands of miles of ice"; looking up and down, you can see "the mountains are dancing with silver snakes, and they are running like wax figures, trying to compete with the gods." The mountains and plateaus are so vibrant and full of vitality, as if they are in the right place. "Dancing" towards the clouds, "riding" towards the sky, to compete with the high-pressure God of snow and clouds! These seven sentences are as big as rafters, writing all the things east and west, north and south, up and down, inside and outside, and the writing is extremely powerful. These seven sentences are written in large areas, especially the river and the Great Wall, which imbue the historical depth of the Chinese nation's eternal civilization. "Desire to compete with God" gives the lifeless scenery a tenacious vitality and sense of competition. This is a personalized snow scene, and it is also a personalized poetry. The natural landscape and the cultural landscape are unified, and the objective landscape and the subject's state of mind are blended. Only Mao Zedong had this brilliant idea! The poet intertwined the scenes in front of him with his thoughts, selected the Great Wall and the Yellow River, which symbolize the Chinese nation, into the painting, and described the mountains and plains from various aspects such as color (silver, wax), shape (snake, elephant), movement (dance, gallop, comparison), etc. , prominently depicts the great image of the mountains and rivers of the motherland, and vividly displays the magnificent wonders of the "Northern Landscape". At the same time, through this vivid artistic description, he also expresses his infinite passion for the mountains and rivers of the motherland and arouses readers' strong sense of national pride.
The continuous mountains look like flying silver snakes, and the undulating plateau looks like wax figures galloping. Not only are the images vivid on the page, but they also imbue the mountains and plateaus with a spirit of high-spirited struggle, reminding people of the people who have lived and worked on this land since ancient times. The Chinese nation rich in revolutionary tradition. Only Mao Zedong could have such a wonderful description that empathizes with the scene and captivates the back of the page!
The mountains and rivers in the snow in front of you are so vivid and magnificent, and they have been laid out to the fullest. However, the poet still has more to say, and uses his rich and unique imagination to create a wonderland in a romantic style: "On a clear day, seeing the red clothes wrapped in plain clothes, it is especially enchanting." These three sentences use personification to express themselves in the vastness of ice and snow. On the scroll, imagine that when the snow suddenly clears, the red sunshine shines on the snow-covered mountains and rivers of the motherland, like a girl wrapped in red, more colorful, charming and moving. The word "Xu" is used to express the optimistic and expectant mood; the word "Kan" is inherited from "Wang", showing the mood of careful viewing; "Red dress and plain wrapping" complement each other and look particularly charming and bright, so the last sentence says "Exceptionally enchanting" ". This is entirely the poet's way of personifying the natural scenery through subjective imagery. With such a fantasy as the conclusion of the first film, the snow scene described has a new beauty that is not decorated with sculpture. In this way, the poet captured the magnificence and spirit of the mountains and rivers of the motherland. Being able to artistically depict natural forms through objective feelings is what the ancients called "the essence of the subject."
The first film depicts the majesty of the motherland, so the second film naturally leads to countless heroes vying to bow to her. "There are so many beauties in the country" is a wonderful way to express one's words. On the one hand, it takes over the "northern scenery" in the snow described in the previous film and summarizes it; on the other hand, it draws out the beauty of the country and the countless heroes who fell in love with it. The phrase "attracting countless heroes to their knees" shows that the success is not worth the effort, and it has the potential to emerge as a new force. The following seven sentences, in general terms, correspond to the vast space of the previous film. They write about the vast time, running through thousands of years, and give an overview of the history of Chinese civilization. Among the "countless heroes", they include Qin Shi Huang, Emperor Wu of Han, Five feudal emperors including Tang Taizong, Song Taizu, and Genghis Khan commented on it. The word "Cherish", written vividly, connects people and events that seem illogical on the surface to form a magnificent historical scroll; there are three layers of "slightly lost", "slightly inferior" and "only recognized" Derogatory, with a subtle and subtle tone and a humorous tone, it objectively and fairly evaluates their shortcomings. These figures have all played a certain progressive role in history. They have made great achievements and are arrogant to their generation. They are worthy of being giants of history. It's a pity that they have more than enough martial arts skills but not enough literary talents. They only want to absorb and not think about innovation, so they are not worthy of such beautiful rivers and mountains. Then, it is natural to launch the infinitely passionate ending of "It's all over, let's count the famous people, but let's look at the present". Liu Tiren of the Qing Dynasty said in "Qi Song Tang Ci Interpretation": "It is the most difficult to start a knot, and it is especially difficult to start a knot." "It must be knotted with the wonderful feeling of 'Don't worry about the end of the bright moon, there will be night pearls'". The three sentences at the end of this word have such a wonderful effect. In the first three words of the sentence, use a pause to make a sudden turn, like a paddle on a boat, and then go straight to the next two sentences. The word "go" is preceded by the word "ju", which is like an iron broom sweeping away "countless heroes" in history; the word "矣" is an exclamation, which is full of emotion. In the second and third sentences, the two verbs "number" and "see" reveal confidence in the Chinese proletariat. They are abundant and moving, with both words and meanings. All the heroes of the past dynasties have been swept away by the rolling torrent of history. Only today's proletariat is the real driving force to promote the progress of history. They are the well-deserved masters of the great rivers and mountains of the motherland. They can make the motherland prosperous and make the Chinese nation stand on its own among the nations of the world. forests and make due contributions to mankind. This is the most warning part of the whole poem, and it is also where the poet’s divine light gathers. With this most concise and summary conclusion, the whole poem Yongxue's "extraordinary reach" fills the page.