The exact words are as follows:
"Kunpeng spread your wings, nine Wan Li, roll the horn. Looking down at the sky, it is all a battlefield on earth. Artillery fire, bullet marks everywhere, frightened the sparrows in the tent. Come on, I want to jump.
Excuse me, where are you going? Queer answer: There is a Qiongge in Xianshan. I didn't see Yue Lang the year before last, so I made three treaties. There is food, potatoes are cooked, and beef is added. No need to fart! Look at it upside down. "
0 1 Look at the first half of Que, focusing on the opposition between Kunpeng and Sparrows in tents. From the beginning, it was magnificent:
"Kun Peng spread his wings, nine Wan Li, and turned the corner."
Kunpeng, the legend is that a big fish in the mountains has become a big bird. As soon as it spread its wings, it flew into the cloud nine and shook the whole universe. Here, "flying spin" is used to describe the sharp rise. "Yangjiao" refers to a hurricane that spins upward. On the one hand, "turning the horn" certainly sets off the grandeur of Kun Peng; On the other hand, it also symbolizes the vigorous rise of revolutionary forces.
The moral here profoundly reveals that people can only fly like Kunpeng, set off a huge storm and seek their own true liberation. Kun Peng is the embodiment of a Marxist. In this image, he embodies the fearless spirit of daring to revolution and victory.
Kun Peng is far-sighted: "Looking down from the sky, it is all a battlefield on earth." The storm of revolution gave Kun Peng the support of "holding up the blue sky"; The revolutionary storm has also brought great changes to the "secular city", that is, great turmoil, great differentiation, great restructuring and other great changes have taken place. This great change depends on the revolutionary struggle.
Kunpeng, condescending, redoubled his lofty sentiments, fanned his wings, and set off a bigger storm to welcome the new century of human liberation. However, the revolution is a profound disaster for sparrows in the canopy. "Gunfire was all over the sky and bullets were everywhere", but such a revolutionary situation was "stunned".
Chairman Mao vividly described their fear of revolution with bitter irony. They usually dominate the tent and have a good time. Even the gunfire and dense bullets in the sky scared them to lie prone on the ground. Then he wrote in the tone of a sparrow between tents:
Come on, I want to jump.
In just two sentences, they wrote their fears and the dilemma of struggling desperately. The word "jump" is connected with the word "scare" in front, which means that the birds in the canopy "jump" from the ground and try their best to escape.
Look at Quexia Que again. On the basis of the comparison of the previous images, "Where are you going?" Through the dialogue between Kun Peng and Peng Jianque, the deeper and wider artistic realm is further revealed.
In Kun Peng's eyes, the nearsighted birds in the canopy were frightened by the rumble of guns, and the sight of fleeing in fear was ridiculous. Sparrows between awnings only jumped a few times, but only in wormwood. Where can it fly? So Kun Peng asked sarcastically, "Where are you going?" Queer brazenly replied, "There is a fairy mountain pavilion."
The word "Xianshan Qiongge" is no stranger. Legend has it that immortals live in nothingness. How can you find it in the world of "guns and bullets everywhere"? Obviously, "there are fairy mountains and Qiongge" serves to show the false lies of the birds in the shed. However, he was eloquent and lied in a sweet voice that the "Fairy Mountain Qiongge" did exist:
"There is no month lang, booked three treaties the year before last. There is food to eat, potatoes to cook, and beef. "
This is a revelation. It turns out that the "Fairy Mountain Qiongge" mentioned by the birds in the shed is nothing more than the "happy" life and the leftovers of "potatoes and beef" in the so-called "three worlds without soldiers, weapons and wars". The story about "Fairy Mountain Qiongge" among the birds in the tent is just a self-exposure of their traitor psychology, and Kun Peng has seen through the sinister intentions of the capitulators. Righteously reprimanded the sparrows in the canopy: "Don't fart." Whether it's "Fairy Hill and Qiongge", "Three Treaties" or "Roast Beef with Potatoes", it's just "nonsense".
The word "don't fart" expresses Kun Peng's contempt and indignation at the birds in the shed. Finally, Kun Peng boldly declared: "Try turning it upside down." This sentence really resounded through the sky, reflecting the great mind and great political ambition of Marxists and revolutionary people. At the end of this poetic sentence, the artistic conception of the poem has been further developed, and the words are meticulous. It contains profound philosophy, which reveals the inevitable law of historical development and indicates that the new world in the future will surely appear in the "upside down".
The contrast between Kun Peng and Peng Jianque has profound political connotation and strong practical significance. The contradiction and struggle between them reflect the struggle between two classes, two roads and two world views. The focus of the struggle is how to treat the revolution. The tall image of Kunpeng's hero inspires people to fight for the complete liberation of mankind. The cowardly and insignificant image of the sparrow in the tent finally degenerated from the fear of revolution to a neo-colonial debater.
This word is full of revolutionary romanticism. Obviously, there is a strong exaggeration and imagination in these images, especially in Kun Peng. Only through his bold imagination and exaggeration can he highlight his heroism and lofty spirit. The lofty revolutionary ideal expressed in the ci also indicates the process of revolutionary development, full of high-spirited revolutionary heroism and revolutionary optimism. All these make this poem a magical, magnificent and extremely touching artistic conception with strong artistic charm.
Chairman Mao's first poem, with a high degree of artistic generalization, shaped a vivid artistic model. First of all, he grasped the main contradiction of the current era, mastered the revolutionary situation, and used the principle of unity of opposites to paint an artistic picture of the struggle between Kun Peng and Peng Zhique, profoundly revealing the essence of the times.
Chairman Mao cast profound political content, lofty revolutionary ideals, lofty proletarian revolutionary pride and strong revolutionary indignation into a typical artistic image; Through the contrast between beauty and ugliness, sublimity and insignificance, it creates a magnificent and profound artistic realm and reproduces the fierce struggle between the proletariat and the bourgeoisie in contemporary times.