I grope for this vast land with broken palm:
This corner has turned to ashes,
That corner is only blood and mud;
This lake should be my hometown.
(In spring, there are many flowers on the embankment, and
the tender willow branches are broken with strange fragrance.)
I touch the algae and the cool water.
The snow peaks in Changbai Mountain are freezing cold,
The water and sediment in the Yellow River slip out between your fingers;
The paddy fields in the south of the Yangtze River are so soft ... Now there is only Artemisia scoparia;
Litchi flowers in Lingnan languish in loneliness.
After that, I dipped in the bitter water of the South China Sea without fishing boats ...
Invisible palms swept across the rivers and mountains without hatred.
My fingers were stained with blood and ash, and my palms were stained with darkness.
Only the distant corner was still intact.
It was warm, bright, firm and vigorous.
on it, I stroked it with my damaged palm,
like a lover's soft hair and a baby's milk in his hand.
I put all my strength on the palm of my hand
and put it on it, sending love and all hope,
because there is only the sun, it is spring,
it will drive out the gloom and bring Su Sheng,
because there is only one place where we don't live like animals,
and ants die ... there, eternal China!
This is a poem written by the poet in the dark and damp dungeon of the Japanese invaders in 1942, which expresses the poet's sincere concern and sincere love for the disaster motherland, and also expresses his yearning for the liberated areas under the leadership of China's * * * production party. In the first half of the poem, "I" fondled the vast land of the motherland ravaged by the enemy's iron hoof with "damaged palm": "This corner has turned to ashes,/that corner is only blood and mud". Then, the poet's invisible palm touched a blue lake in his hometown. The current "cool" lake is in sharp contrast with the beautiful spring scenery of the past, which shows the poet's great anxiety and anger at the enemy's trampling on his homeland. In order to make the theme of poetry not superficial and narrow, the poet imagined the world from near to far, from north to south, from the snow peaks of Changbai Mountain and the sediment of the Yellow River to the paddy fields in the south of the Yangtze River, litchi in the south of the Yangtze River and the seawater in the South China Sea. The poet chooses the most typical scenery in each region to embellish it. They are not only the symbol of people's suffering and misfortune, but also the witness of the invaders' sin. The sentence "Fingers stained with blood and ashes,/palms stained with darkness" is not only a summary of the first half, but also echoes the first three or four lines.
The second half of the poem is still unfolding in the imaginary world, and it depicts a longing picture that is in great contrast with the previous disaster scene: although it is a "distant corner", the mountains and rivers are intact, without darkness and blood. But full of warmth, light and vitality, "there is the sun, it is spring." Compared with the sad tone of the first half, this part beats the poet's uncontrollable happiness and excitement; Compared with the lyricism of the first half, the second half is quiet and soothing, which makes the poem perfectly unified in emotional sadness and joy, and the lyrical style appears varied. In that era when the wild roar replaced the artistic contemplation, this poem is like a beautiful flower that never fades: the image is highly condensed but not obscure, the feeling is delicate but not dim, and the profound realistic content is perfectly blended with modern lyric methods.
Shu Ting's "Motherland, My Dear Motherland"
I am a worn-out old waterwheel beside your river
I have been spinning tired songs for hundreds of years;
I am a miner's lamp blackened on your forehead,
As you grope in the tunnel of history;
I am a withered ear of rice; It is a disrepair subgrade;
It is the barge on the silt beach that
pulls the rope deep
into your shoulder;
-the motherland!
I am poor,
I am sad.
I am
the painful hope of your ancestors,
a flower that has not fallen to the ground for thousands of years.
-the motherland!
I am your brand-new ideal,
I just broke free from the spider web of myth;
I am the germ of your ancient lotus under the snow;
I am your laughing vortex with tears hanging;
I am the newly painted white starting line;
It's the crimson dawn
spreading;
-the motherland!
I am one billionth of you
I am the sum of your 9.6 million square meters;
You
fed
me confused, thoughtful and boiling with scarred breasts;
Then get
yours from my flesh and blood; Richness, your glory, your freedom;
-motherland,
my dear motherland!
This poem draws lessons from the circumferential sentence "I am Goya, ... I am ..." in Goya by Voznesenski, a poet of the former Soviet Union, but it has a creative development. Circumferential sentence patterns mostly appear in works that express strong emotions, and it is best to use them to render sad and painful feelings. Shu Ting wrote about the relationship between "I" and the motherland. With this sentence pattern, the depth of pain and love was increased. The first section is a reflection on the history of the motherland, and five groups of images are carefully selected to symbolize the backwardness, poverty and disaster of the motherland for thousands of years: the first four lines are stable and long, full of sound and color, giving people a feeling of deep thought; The fifth and sixth lines are short and do not describe; The last three lines are elongated, short and tight, showing emotional ups and downs, and the subject appears. The second section connects the preceding with the following, revealing that the flower of hope hidden in the soul of the Chinese nation has never died. Although the disaster is heavy, the ideal will last forever, but it has not been realized yet. In this section, the short sentence is followed by the long sentence, and then the main word reappears. It seems that the meaning is still unfinished, and a deep regret is spilled at the end of the pen. In the third section, I pour out my hope and passion, and use five groups of images to describe the face of the motherland in a historical turning point. Each image has its own unique meaning, and the five groups are used together to form a metaphor parallelism, which strengthens the excited and enthusiastic emotions and expresses the poet's joyful feelings. The first two lines of the fourth section use "one in a billion" and "9.6 million square meters" to form a contrast between small and big, which means that "I" is a member of the motherland, but my chest contains the whole motherland. Then, raising "I" with breasts and getting it from my flesh and blood become a contrast, highlighting the blood-milk relationship between "I" and the motherland; Even confusion, deep thought and boiling are the opposite of richness, glory and freedom, so as to see the infinity of pain and joy. If the first three sections are about the relationship between "I" and the motherland, the fourth section is about the relationship between the motherland and "I" in turn. Syntactic ambiguity is the expression of extreme emotion, which ends the whole article with a double call to the subject and reaches its climax.
There is not a word in the whole poem, which is described by images and permeated with emotion. The selected images are simple and vivid, unique and appropriate, and each word is closely related to the scene being described. Lyricism is not an unobstructed view, but pays great attention to its fluctuating rhythm, from sadness, low to joy, high, and from excitement to deep, which is intertwined with a variety of complex and dignified feelings such as sadness, anxiety, fierceness, disappointment and hope, sigh and pursuit, reflecting the poet's unique euphemistic and deep, feminine and meaningful lyric personality
Guo Moruo's Coal in the Furnace < p
I don't live up to your hospitality, and
you don't live up to my consideration.
I am so excited for my beloved
!
ah, my young lady!
you should know my predecessor?
don't you think my slaves are reckless?
Only in the chest of a black slave can I have a heart like fire.
ah, my young lady!
I think my predecessor
used to be a useful pillar.
I have been buried underground for many years, and
I have to see the light again until now.
ah, my young lady!
Since I saw the sky again,
I often miss my hometown,
I am so excited for my beloved
!
The poet compares himself to "coal in the furnace" with the method of imitation, and compares his motherland to "my beloved" and "young girl" with the method of personification. The whole poem is built on this set of core images. The image of "coal in the furnace" has rich aesthetic implications: first, the burning of "coal in the furnace" symbolizes the poet's passion to sacrifice for the motherland; Secondly, the "fire-like heart" under the black appearance of "coal in the furnace" symbolizes the humble status and great personality of the working masses, and "coal in the furnace" refers to both the "ego" and the "big ego"-the working people endorsed by the poet; Thirdly, the predecessor of "coal in the furnace" was originally a useful pillar, and after being buried alive for many years, it finally "saw the sky again", symbolizing the poet's desire to do something because he didn't want to live a mediocre life, and also symbolizing that the great energy hidden in the working masses to transform the world will be released. The image of "girl" implies that the poet's love for the motherland is as passionate as love, while the word "young" implies that the motherland is full of vigorous vitality in the May 4th Revolution. Guo Moruo said in "Ten Years of Creation": "In my mind, China after the May 4th Movement is like a girl who is very young and enterprising. She is just like my lover ..." Coal in the Furnace "is my love song for her." This passage clearly illustrates the significance and function of comparison in this poem.
the image of "coal in the furnace" combines the characteristics of melting objects, the temperament of "I" and the spirit of the times in one furnace; Writing about the burning of "coal" means expressing the passion of "I" and the feelings of the people and the times. The artistic form is in perfect harmony with the lyric thinking. From the perspective of composition, the first section summarizes patriotism and ambition to serve the country, the second section focuses on expressing patriotism, the third section focuses on ambition to serve the country, and the last section and the first section take the form of overlapping, echoing before and after, pushing the whole poem to a climax. From the perspective of format and rhythm, there are 5 lines in each section, and the syllables in each line are generally uniform; One, three and five elements rhyme, and one rhyme goes to the end; And each section starts singing with a kind, gentle and affectionate call of "Ah, my young girl", which makes the melody beautiful. Poetry is ups and downs with the rhythm of poetry, and its charm is deep.
Wen Yiduo's Ode to the Sun (excerpt)
The sun-the golden bird-the sun!
Let me ride you around the earth once a day, and
I can see my hometown once a day!
Wen Yiduo's ode to the Sun (excerpt)
This is a poem written by the poet during his study in the United States from 1992 to 1925. Because of the poet's eager yearning for the motherland, he has produced such a magical and magnificent imagination. In Qu Yuan's Lisao, there is a saying: "I want jade to take advantage of it, and I love it." The magical imagination in ancient and modern romantic poems comes down in one continuous line. However, Qu Yuan only imagined driving a phoenix bird ("owl") in the universe, but the author of this poem actually wanted to sail on the sun, and his imagination was bolder than that of the ancients.
Wen Yiduo's One Word
There is a saying that is a curse, and
There is a saying that can catch fire.
Although it hasn't been revealed for five thousand years,
Can you guess the silence of the volcano?
Maybe he was suddenly possessed.
Suddenly there was a thunderbolt in the blue sky.
There was a sound:
"Our China!"
how can I say this today?
You don't believe that Cycas blooms.
Then listen to a sentence:
When the volcano can't help being silent,
Don't tremble, stick out your tongue and stomp,
Wait until a thunderbolt
explodes in the blue sky:
Our China! "
Mr. Wen once said: "The poet's main talent is love, love for his motherland and love for his people." In 1925, when he returned to China from the United States, he saw the dark reality under the rule of feudal warlords and the sight of people living in poverty. Therefore, sincere love turned into strong dissatisfaction with the status quo and passion for changing old China. This sentiment is fully reflected in this poem. The whole poem takes "One Word"-"Our China" as the conception center, and uses the method of combining realism and metaphor to chant repeatedly, trying to render the contrast. The first section first uses parallelism, and through the realism and metaphor of "disaster" and "fire", it reveals the suppression of public opinion by dark reality, and also shows the great power accumulated by the people. Then compare it with a volcano. Although it has been silent for thousands of years, once it suddenly happens, it will produce earth-shaking power. This metaphor shows that the poet is full of confidence in the strength of the people's resistance. In the second section, some people who are pessimistic about the future of China and don't believe in the people are warned, and the metaphor of "Cycas blossoming" is used to build "our China" which is hard to come by but will eventually come true. Through the contrast between "I" firmly believe and "you" don't believe, the disbelievers may be surprised, such as panic and disgust, which further sets off the inevitability and suddenness of the people's resistance, indicating that the poet firmly believes in the potential power of the people to liberate themselves and transform old China, and sincerely supports it. He compared the people's resistance and cry to "a thunderbolt in the blue sky", which not only echoed the image of "fire" and showed infinite power, but also was a kind of praise tone. B "Boom:/'Our China!'" "The two repetitions strongly express the expectation and pursuit of the ideal China. This poem is simple in language, neat and symmetrical in form, natural and natural, full of rhythm and musical beauty
Ai Qing's I Love This Land
If I were a bird,
I should also sing with a hoarse throat:
This land hit by the storm,
This will always surge our river of sorrow and indignation,
This will never stop.
why do I often have tears in my eyes?
Because I love this land deeply ...
The poem begins by saying "If I were a bird", which is not a simple image comparison, but an emotional virtual. The poet's sincere love for the motherland is expressed by the wishes of birds, and the euphemistic lyrical techniques blend the poet's deep feelings and sincere emotions. Then the poet arranged a group of images to express the content of his singing. The infiltration of intense passion in the poet's heart made the images full of vivid and rich connotations: "land" was hit by the storm, "river" was sad and angry, "wind" was irritating, and "dawn" was gentle. Connecting with the age of the poet's writing, we can realize that what the poet's writing shows is a tragic age of broken mountains and rivers and the destruction of the country. What is valuable is that the poet did not despair because of this. He was still full of hope in the dark, so the dawn was "gentle". "-then I died,/even the feathers rotted in the land." The poem skillfully used the natural and passive ending of birds to show the poet's active pursuit, which more truly showed the poet's dedication. Finally, express one's feelings of concern for the country and patriotism directly, which not only points out the theme, but also logically echoes the first half. If the first eight sentences are the accumulation of feelings, the last two sentences are the opening of the emotional floodgate and the rushing down of the emotional torrent
Taiwan Province] Huang Yonglian's Chinatown
is a harbor
reserved for China people's local accent
There is no need to ask where the tourists come from
The yellow skin is lit with
the post horse in Yangzhou
the palace in Chang 'an.