In the face of lyrical and prosperous literature and art, Guo Xiaochuan once appeared the phenomenon of writing behind the times. While other writers and poets turned to lyrical writing, Guo Xiaochuan was once immersed in the creation of narrative poems such as Deep Valley, Ode to Snow White and One and Eight. Realizing that he was isolated from the creative trend, Guo Xiaochuan also tried to adjust himself, joined the chorus team in this lyric era, and began to devote himself to the creation of lyric poetry. Staring at the Starry Sky was produced under this background. Staring at the Starry Sky was written from April of 1959 to April of 10, which lasted for half a year. This fully shows the seriousness of the author's creative attitude, and the thoughts and feelings expressed in the poem should be strictly examined by the author himself in advance, which is highly authentic in the individual sense. The confrontation between man and nature is an eternal problem facing mankind. In the specific historical period of China in the late 1950s, the relationship between man and nature became man's absolute transcendence and conquest of nature, which was the concrete expression of the abstract essence of "human nature" in socialist China. Therefore, whether "people's nature" is warmly praised or strongly questioned can be used as a touchstone to judge the lyricism of a lyric poem. Gaze at the starry sky in the first person and express your feelings in the form of confession. The theme of the poem is that the poet stood on the streets of Beijing and looked up at the starry sky for a night, feeling the smallness of the starry sky and the universe, and then suddenly realized his own thinking mistakes, reaffirmed the great power of man, and enthusiastically praised the great abstract essence of "human nature". Two contradictory thoughts and feelings were contained in such a short space, which really made readers and critics at that time feel unbearable and even harsh. Staring at the starry sky is divided into four chapters. Reading the whole poem carefully, we can find that the whole poem is actually composed of two texts because of the split of the author's thoughts. The former is the feeling of starry sky (nature), which we call "individual life text"; The latter is a tribute to "people's nature", which we call "historical text". Let's analyze the different connotations of these two texts and the ways and means to integrate them into a unified text. In the "individual life text", the poet made bold and profound thinking about nature and life. In chapter 1, the author describes his feelings about the starry sky like this: but the starry sky is magnificent/rich and bright. The vault is deep and wide, and in that mysterious world/it seems that layers of mysterious halls are erected. The author's solemn sense of the starry sky is completely sincere, and even he can't help but make an intoxicating sound: the atmosphere/thick fragrance/in that wonderful ocean/as if there is a wonderful wine slurry flowing. In the last section of the second chapter, the author even praised the greatness of nature with great awe and piety: Ah, the starry sky/only you/can be called endless,/… time is for you/like space …/boundless/boundless. Here, the poet has completely forgotten about human beings, and human power is only a small existence in the face of powerful nature. This is undoubtedly the author's true voice in front of nature. In the second chapter, the author began to praise the starry sky warmly and spared no effort. He commented on the starry sky like this: I love this world/I grew up in this world/but compared with you/this world is far from brilliant. The author even doubts the existence of human beings in front of the starry sky: distant stars/can you see the earth? /A lost/distant land/Do you feel our existence? -How can you imagine! Finally, the author couldn't restrain his inner passion and offered the most sincere praise to the starry sky and the universe: but on the road of life/how many chances/look up at the starry sky! /In the journey of life/How many nights have you seen the starry sky so quiet! /In the space of the great universe/Life is just a flash of a meteor. /In the infinite river of time/Life is just a tiny wave. The author has repeatedly said that he is "disappointed" with this kind of consciousness and emotion, which reflects his real awe and submission to nature in his personal life. At this moment, he has completely forgotten the existence of human history, and the concept of "human nature" has been excluded from the author's mind, because there is hardly a big word like "we" in the whole chapter of 1 and 2, and "I" is actually a natural ode sung by the author under the condition of extremely diluted historical consciousness. In this individual life text, we can see that the author uses the great power of nature he feels to imply that the essential power of "human nature" is illusory and unreliable. However, at that time, this political inclination of thoughts and emotions was very dangerous. The author is aware of this, so he knows how to offset the possible negative political consequences of personal life texts. He had to turn his personal life text into a historical text praising "people's nature" as soon as possible. Only in this way can he ensure that his lyricism is consistent with the historical process in the political direction. However, this rapid transformation from individual thoughts and feelings to historical thoughts and feelings is bound to be abrupt and blunt. This point is revealed in the historical texts composed of the contents of the third and fourth chapters of the poem. The third chapter begins with this description: sudden/magnificent starry sky/sudden change. It's getting dark/the stars are getting smaller/the sky looks dim. This rapid change of feelings is really difficult to accept psychologically, but it is actually the poet's original intention. He has a clear creative intention. Understand this, then the following lyricism is not strong enough. In the following poem, the author clearly implies that his loss of enthusiasm for praising the starry sky lies in the sudden rise of political thoughts on his conscious screen: a wonderful Great Hall of the People has risen right beside me/in Tiananmen Square. In this poem, the image of "People's Hall" is the concrete externalization of the political idea of "people's nature". Once the poet's political concept is awakened and lit up, his lyrical attitude will inevitably change greatly. As a result, the thought of ignoring and belittling people in 1 and 2 chapters disappeared, and it was replaced by a more enthusiastic and beautiful praise and eulogy of the essential force of "human nature". Is this heaven and earth? No, it's a paradise on earth! /Is this the land in heaven? /No, paradise on earth. /The real world. /It's true. /Please describe it briefly, without any exaggeration! Moreover, in the poet's works, the relationship between nature and human beings is completely reversed: at this moment, I realized that I was looking at the starry sky/not at the starry sky. /We live/A lifeless universe/Neither born nor dead. This is just a deliberate denial of the praise of the starry sky in Chapter 1 and Chapter 2. Its essence is to deny personal thoughts and feelings with historical thoughts and feelings and bring individuals into the historical framework. In the third chapter, the poet completely denies the power of the starry sky, and after achieving this goal, he can directly praise "human nature." From the fourth chapter, the word "we" is frequently used in poems, and "we" is the realistic carrier of the abstract essence of "human nature". The poet's surging passion warmly praised "our" great ambition, grand ambition and earth-shattering spiritual fantasy: we will build an emerald corridor between the earth and the starry sky/move the terraced fields and halls on the earth to a vast heaven/we will build a bridge in the infinite sky/send the delicious food on earth to a distant heaven. The poet thinks that this kind of imagination is not enough to express the power of "we", and even gives birth to a ground-breaking imagination: we should extend the lights on Chang 'an Avenue to the distance, make the cloudless night sky in Wan Li, make Qian Qian have thousands of suns, turn the vast vault into a bustling Tiananmen Square, and make the stars in the sky the hometown of all mankind. This is the highest praise for the essential strength of "human nature", and its lyrical gesture can be said to be unparalleled. At the end of the poem, the poet repeatedly emphasized the good hope for human survival, and his firm belief in history and conscious follow-up completely sublimated the solemn theme of the whole poem. However, by comparing chapter 1 and chapter 2 with chapters 3 and 4, we can sensitively find the gap between the two texts that is difficult to bridge. The author's original intention is to integrate individual life text into historical text, and to show the irresistible spiritual development direction of history by actively and consciously integrating individual thoughts and feelings into historical thoughts and feelings, but there is sharp opposition between the two texts. Individuals have always been detached from history, and the true feelings of individual life have strengthened the compulsory instillation of historical consciousness. Staring at the starry sky weakens the lyrical atmosphere of history because of the strong lyrical atmosphere of individual life. This is the fundamental reason why Staring at the Starry Sky was unanimously criticized by the literary and art circles and the ideological and public opinion circles at that time.
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