The writing background of Qinyuanchun·Changsha
The writing background of Qinyuanchun·Changsha, "Qinyuanchun·Changsha" is a poem written by the modern poet Mao Zedong. The full poem is in Between the phrases, emotions and situations blend together. Let us learn about the writing background of Qin Yuanchun Changsha, hoping to help everyone. Writing background of Qinyuanchun·Changsha 1
Writing background:
The poem "Qinyuanchun·Changsha" was written in 1925. The revolutionary movement was flourishing at that time. The May 30th Movement and the provincial and Hong Kong general strikes broke out one after another, and Mao Zedong directly led the peasant movement in Hunan. At the same time, the united front of the Kuomintang and the Communist Party has been established, and the National Revolutionary Government has been formally established in Guangzhou. In the late autumn of this year, Mao Zedong went to Guangzhou to host a peasant movement workshop. During his stay in Changsha, he revisited Juzizhou and wrote this poem. Mao Zedong was 32 years old when he wrote "Qinyuanchun·Changsha". At that time, the revolutionary situation was on the rise and the mass movement was surging. In January, the Party's "Fourth National Congress" was held in Shanghai. In September, Mao Zedong participated in the preparatory work for the National Government's "Second National Congress" in Guangzhou. In October, he was elected as the Acting Minister of Propaganda of the National Government. Mao Zedong was high-spirited and in a happy mood. This poem was first published in the January 1, 1957 issue of Poetry Magazine.
About the author:
Mao Zedong’s pseudonym was Yongzhi, which was later changed to Runzhi, and his pen name was Ziren. Born on December 26, 1893 in Shaoshan Village, Xiangtan, Hunan, into a peasant family (some say a landlord family). After the Revolution of 1911 broke out, he served as a soldier in the uprising New Army for half a year. From 1914 to 1918, he studied at Hunan First Normal School. On the eve of graduation, he organized the revolutionary group Xinmin Society with Cai Hesen and others. He came into contact with and accepted Marxism before and after the May 4th Movement. In 1920, he founded a communist organization in Hunan. Died in Beijing on September 9, 1976. The leader of the Chinese people, a Marxist, a great proletarian revolutionist, strategist, militarist, thinker and theorist, the main founder and leader of the Communist Party of China, the Chinese People's Liberation Army and the Chinese People's Republic of China Man, poet, calligrapher Mao Zedong. Changsha is the place where Mao Zedong studied and engaged in revolutionary activities in his early years. Mao Zedong is regarded as one of the most important figures in modern world history, and Time magazine named him one of the 100 most influential people of the 20th century.
Original text:
Qinyuan Spring·Changsha
In the cold autumn of Independence, the Xiangjiang River goes north, at the head of Orange Island. See the mountains all red, the forests all dyed; the rivers full of green, with hundreds of boats vying for the current. Eagles strike in the sky, fish fly in the shallows, and all kinds of frost compete for freedom in the sky. Feeling lonely, I wonder who controls the ups and downs of the vast land? I brought a hundred couples with me to travel, recalling the glorious past. Qia's classmate is a young boy who is in his prime; he is a scholarly student and scolds Fang Qiu. Pointing out the country and inspiring words, the excrement of thousands of households. Have you ever remembered that when you hit the water in the middle of the stream, the waves stopped the boat!
Translation:
On a crisp day in late autumn, I stood alone at the head of Orange Island, looking at the slow clear water of the Xiangjiang River. Beiliu. Look at the thousands of mountain peaks all turning red, the layers of forest seem to be dyed with color, the river is clear and blue, and the big ships are riding the wind and waves, vying to be the first. Eagles fly in the vast sky, fish swim in the clear water, and everything is vying to live a free life in the autumn light. Facing the boundless universe, (thousands of thoughts came to my mind at the same time) I want to ask: Who will decide and dominate the rise and fall of this vast earth?
Looking back on the past, I and my My classmates often come here to play together. Those countless extraordinary years spent discussing national affairs together still linger in my heart. The students are in their youth and in their prime; we are full of ambition, unrestrained and powerful. Commenting on national affairs and writing these articles that stirred up the turmoil and promoted the Qing Dynasty, the warlords and bureaucrats at that time were treated like dirt. Do you remember? At that time, we were swimming in a deep and fast river, and the waves almost blocked the speeding boats.
Qin Yuanchun·Changsha Writing Background 2
Historical Perspective
In the history of Chinese poetry, he was the first to depict the beauty of nature in large quantities, and to combine the description of natural beauty with the destiny of the country and people. The poet who combined the concerns was Qu Yuan. This is a fine tradition of Chinese classical poetry. Mao Zedong's poetry inherited this fine tradition. He is good at integrating natural beauty and social beauty, and expresses the content of social beauty through lifelike and vivid artistic images of natural beauty. Through the description of the autumn scenery of Changsha and the memories of the revolutionary struggle life in his youth, this poem raises the question of "who is in charge of ups and downs?" and expresses the spirit of optimism about the future of the Chinese nation and the lofty ambition to take world affairs as one's own responsibility.
Especially the last three sentences of this poem end with a question, which cleverly answers the question of "who is in charge of the ups and downs". Just like those who hit the water in the middle of the stream, they bravely threw themselves into the revolutionary waves and advanced bravely.
Aesthetic perspective
Aesthetically speaking, sublime beauty is manifested in external aspects, such as tall, vast, majestic, majestic and other magnificent scenes. The German philosopher Immanuel Kant divided the sublime into two categories: mathematical sublimity, such as the volume of a mountain; mechanical sublimity, such as the momentum of a storm. The famous Russian literary critic Chernyshevsky also said: "One thing is much larger than all things compared with it, and that is sublimity." Confucius also connected "big" with sublimity and praised : "How great! Yao is the king. So majestic, only the sky is great, and only Yao can control it." This majestic, broad, and magnificent sublime beauty is reflected in Chairman Mao's poems through the description of mountains and rivers. The most vivid. "Qinyuanchun·Changsha" is one of the best chapters.
Calligraphy Appreciation
This work was written around 1954. It is a representative work of Mao Zedong’s calligraphy. Calligraphers believe it to be the latest among Mao Zedong’s poems and calligraphy. The work is also the most mature and highest work, and it is also the last monument in the ink we see. The poem is written in ink on two pages of red bound letterhead, with a total of 15 lines. Mao Zedong's writing style is flying, fast and convenient, but each word is independent, the whole article is harmonious and elegant, sparse and smooth, each word is beautiful, starting from bottom to top, looking left and right, and fully captures the beauty of nature; without the tense situation, his muscles and bones are strong and beautiful. Free and easy, the characters are small and sparse, and there are many disconnected characters, but the energy is smooth, the ink is moist, and the ink is suitable. There are no oddly large or oddly small characters, no oddly light or oddly heavy strokes, and no leaning ink to gain momentum, such as A couple of young men, in their prime and grace, walked slowly on the bank of the Xiangjiang River, but they had great ambitions to "point the country and inspire words". Their words were beautiful, flying and majestic, and the Luan spanned the crane, fluttering and ready to fly. This piece of work uses both square brushes in garden brushes, mainly with hidden edges, and also with exposed edges. The brushwork used in the composition is chic and ancient, which fully embodies the style of Jiangzuo. The layout is dense and dense, with rows but not columns, and the spaces between the rows are almost as close as the spaces between the words. The structure is soft on the inside and rigid on the outside, "marking the ambition and supporting the emotion." There are more than 100 words in the whole page. The writing and ink color change with the mood of the book, sometimes high and sometimes soothing, making the whole book coherent and structurally perfect.
Artistic perspective
The artistic expression technique of Chinese classical poetry pays great attention to the blending of emotion and scenery. Liu Xie said: "There is no emotion in the collection, and the taste will be boring." ("Wen Xin Diao Long") Xie Zhen said: "Scenery is the medium of poetry, and emotion is the embryo of poetry; when combined, it becomes poetry, and it is unified by a few words. The shape and vitality are integrated, and its vastness is boundless." ("Siming Poetry Talk") This poem achieves the state of blending scenes well.
Ideological level
Sublime beauty is expressed in the inner aspect, which is a reflection of the great and noble soul. In his article "On the Sublime", Longinus of ancient Rome proposed that the sublime is "the echo of a great soul." The second half of this poem focuses on lyricism, which is the expression of this great spiritual echo. This kind of expression is first elicited through memories.