Renshan praised the wide lineup and the iron horse calmly returned to kill the enemy. The poem "Four Wonders Watching the Tide" written by the poet is magnificent from beginning to end, which not only shows the momentum of qiantang bore, but also shows the consistent momentum of the poet himself. It is true nature that the internal atmosphere and the external scene are coupled at the same time. Jiangshan's atmosphere met a true understanding friend. Of course, this confidant (that is, poet) in the bosom of Yun can only be accommodated by Wan.
In the poet's eyes, the Qiantang Chamber lineup is magnificent, and it is going back and forth, and it has the potential of "gold and Goma iron, swallowing Wan Li like a tiger". It is true that only a great poet like Chairman Mao can be competent for pleasure and achieve it in one go.
"Thousands of miles of waves are rolling, and snowflakes fly to Diaoyutai." The poet closely follows the word "view" in the topic of "watching the tide" and describes the momentum of the Qiantang River tide: "a thousand miles" refers to the width of the water area; "Rolling" refers to the urgency of the waves. The Tang Dynasty poet Du Fu's "Climbing the Mountain": "The sky is full of high winds, apes crow and birds crow, and the blue lake and white sand return. The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably. Wan Li, a frequent visitor in autumn, climbed to this height alone with my hundred years of sorrow. Bad luck has a bitter frost on my temples, and heartache and fatigue are a thick layer of dust in my wine. " There is a poem "When I look at the long river, it always rolls forward". "A Thousand Miles", writing about the area of waves; Rolling is about the speed and momentum of waves. It has realized the memorization of tidal bore from many angles and sides, leaving a deep impression on people. The mouth of Qiantang River is trumpet-shaped, with a big mouth and a small body. At high tide, seawater flows in from the mouth of a river more than a hundred miles wide, but it is squeezed by the narrow river bank, forming a tidal bore. The tidal bore in the rear collides with the tidal bore in the front, and the back wave pushes the front wave block, and the wave crest stands on the wall, making the river spectacular. The waves are as high as three or five meters, and the drop can reach eight or nine meters. It's thrilling and powerful. "A Thousand Miles of Waves Rolling" just wrote the tide of the special topography of Qiantang River. The "snowflake" here refers to the waves. Su Shi, an uninhibited poet in the Northern Song Dynasty, has a saying in Niannujiao Chibi Nostalgia: "The rocks are empty, the stormy waves beat the shore, and thousands of piles of snow are rolled up." Diaoyutai is a fishing platform, located on Fuchun River in the middle reaches of Qiantang River. It is said that it was a secluded fishing place for Yan Guang (Zi Ling) in the Eastern Han Dynasty. "Snowflakes fly to Diaoyutai" is a wave that points backward and pushes to the front to fly to Diaoyutai, describing the majestic momentum of tidal bore and unstoppable along the river. Cao Rong, a poet in the Qing Dynasty, wrote a poem in "Watching Tide in Qiantang: A River Red", which once said that "stormy waves cross the Yantan Beach to rest", meaning the same as "Snowflakes fly to the Diaoyutai".
Poetry often talks about the combination of inheritance and integration. When the poem reached the third sentence, the pen suddenly turned. Everyone in front was writing about the tide, and now I suddenly started writing about people who watch the tide. If you don't write about the influx of people, you can't highlight the status of Qian Jiangchao scenery as a scenic spot. The words "a sea of people, full of praise" and "a sea of people" are reminiscent of people crowded and scrambling to attract their necks to watch, meaning close to "full people competing for the river to look up", raising tides from the side to attract people's praise, turning indescribable beauty into a reaction that everyone can imagine, which is also a common way to describe scenery in poetry.
The last sentence, "The iron horse calmly returned to kill the enemy", once again wrote the scene of the tide. The poem is about "returning from killing the enemy", which appropriately describes the scene that the Qiantang River, which had been rushing all the way to the sea, suddenly came back from the sea. This is still a metaphor, but it is very different from the second sentence "Snowflakes fly to Diaoyutai". If the image of "snowflake" in the second sentence is still warm, in this sentence, it is both "iron horse" and "killing the enemy", which contains an aggressive spirit of war. "Snowflake" is a metaphor for the shape of the tide, and the last sentence is a metaphor from the momentum. Because the momentum is elusive, it is really crucial to concretize it with "iron horse calmly killing the enemy back"
When describing the Qiantang chamber, the predecessors often used the war drum as a metaphor, and the war drum was a new number when playing. The so-called gong and drum sounded, and the golden bell sounded back. But in Mao Zedong's works, the momentum of Qiantang River is not combative at the beginning of the battlefield-in that case, it must be superficial-but "calm". This sentence is better than calm, and this poem is better than calm. After killing the enemy, I can take my time, be calm, have answers, and have everything under control. This calmness is even more terrible than a head-on confrontation on the battlefield.
The beauty of this poem lies in the alternation of statement and metaphor, the combination of reality and falsehood, and the coexistence of reality and falsehood. "Thousands of miles of waves are rolling in" is true, "Snowflakes are flying to Diaoyutai" is false, but "one word with one voice and a wide lineup" is true, and "iron horse calmly kills the enemy" is also false. This staggered writing makes the magnificence of the tide scene not too monotonous in the poem. A short quatrain, alternating between reality and reality, is natural, without a trace of axe.
References:
1, Wang. Mao Zedong's poems. Shandong: Shandong Science and Technology Press, 2007- 12- 12, Mao Runzhi. Selected works of Mao Zedong. Jinchaji Daily Press: People's Publishing House, 1944.