I used my injured palm.
Explore this vast land:
This corner has been reduced to ashes,
That corner is just blood and mud;
This lake should be my hometown,
(In spring, the embankment is full of flowers.
There is a strange smell when the tender willow branches are broken. )
I touched the coolness of seaweed and water;
The snow peaks in Changbai Mountain are freezing cold.
The water and sediment of the Yellow River slip through the fingers;
The rice fields in Jiangnan are so soft ... now there is only Artemisia scoparia;
Litchi flowers in Lingnan are lonely and withered,
There, I was immersed in the bitter water of the South China Sea without fishing boats. ...
Invisible palms swept the mountains without complaint,
Fingers stained with blood and ash, palms stained with darkness,
Only the far corner is still intact,
Warm, clear, firm and vigorous spring.
On it, I stroked it with my broken palm,
Like a lover's soft hair, a baby's milk.
I put all my strength in my palm.
Put it on, send love and all hope,
Because there is only the sun, no spring,
Will dispel the haze and bring Su Sheng,
Because it's the only place where we don't live like animals,
Die like an ant ... there, eternal China!
This is a poem written by the poet 1942 in the dark and humid dungeon of the Japanese invaders, which expresses the poet's sincere concern and love for the disaster motherland and his yearning for the liberated areas under the leadership of the China Production Party. In the first half of the poem, "I" caressed the vast land of the motherland ravaged by the enemy's iron hoof with "broken palm": "This corner has been reduced to ashes,/there is only blood and mud in that corner". Then, the poet's invisible palm touched a blue lake in his hometown. The present "cool" lake is in sharp contrast with the beautiful spring scenery in the past, which shows the poet's great anxiety and anger at the enemy trampling on his home. In order to make the theme of poetry not superficial and narrow, the poet imagines the world from near to far, from north to south, from the snow peaks in Changbai Mountain and the sediment in the Yellow River to the rice 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 area to decorate it. They are not only symbols of people's sufferings and misfortunes, but also witnesses of the aggressors' sins. The sentence "Fingers stained with blood and ashes,/palms stained with black" is not only a summary of the first half sentence, but also an echo of the first three or four sentences.
The second half of the poem is still unfolding in the imaginary world, depicting a yearning 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. It is 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 first half, the second half is quiet and soothing, which makes the whole poem perfectly unified in emotional sadness and joy, and the lyric style appears varied. In that era when roaring replaced artistic meditation, this poem is like a beautiful flower that never fades: the image is highly concise but not obscure, the emotion is delicate but not hazy, and the profound realistic content is perfectly blended with modern lyric methods.
Author: Qi Yuan replied to this remark in April 2005-13 17: 38.
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2 Reply: Appreciation of patriotic poems
Shu Ting's motherland, my dear motherland.
I am your shabby old waterwheel by the river.
Tired songs that have been spun for hundreds of years;
I am a miner's lamp blackened on your forehead,
Do what you do in the tunnel of history;
I am a withered ear of rice; It is a roadbed that has been in disrepair for a long time;
This is a barge on the beach.
Draw the rope deep
Pull into your shoulder;
-the motherland!
I'm poor,
I am sad.
I am your ancestor.
Painful hope,
It's a flying sleeve.
Flowers that never fall to the ground for thousands of years;
-the motherland!
I am your brand-new ideal,
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;
This is crimson dawn.
It is sprayed;
-the motherland!
I am one billionth of you.
Is the sum of your 9.6 million square meters;
With your scarred breasts,
raise
Lost me, considerate me, boiling me;
And then from my flesh and blood
get
Yours; Abundance, your glory, your freedom;
-the motherland,
My dear motherland!
This poem draws lessons from the circumferential sentence "I am Goya, ... I am ..." Goya is the work of the former Soviet poet Woznetsky, but it has a creative development. Circumferential sentences often appear in works that express strong feelings, and are best used 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 increases. 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 steady and long, colorful, giving people a feeling of deep thought; The fifth and sixth lines are short and have no description; The last three lines are long, short and tight, showing emotional ups and downs, and the main body 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 withered. Although the disaster is heavy and the ideal lasts forever, it has not been realized so far. In this section, short sentences are followed by long sentences, and then the subject appears again. It seems that the meaning is still unfinished, and a deep regret is sprinkled on the pen. In the third section, I poured out my hopes and passions and used five groups of images to describe the face of the motherland in the historical turning point. Each image has its own unique meaning, and five groups are used together to form a metaphor, which strengthens the excited and enthusiastic mood and expresses the poet's happy mood. Before the fourth festival, the two lines used "one billion" and "9.6 million square meters" to form a contrast between small and big, indicating that "I" is a member of the motherland, but my chest contains the whole motherland. Then, raising "I" with breasts, from my flesh and blood, becomes a contrast, highlighting the blood-milk relationship between "I" and the motherland; Even confusion, deep thinking and boiling are the opposites of richness, glory and freedom, so that we can see the endless joys and sorrows. If the first three sections are about the relationship between "I" and the motherland, then the fourth section is about the relationship between the motherland and "I" in turn. Syntactic ambiguity is the expression of extreme emotions, which ends 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 runs through with emotions. The selected image is concise, vivid, unique and appropriate, and every word is closely related to the described scene. Lyricism is not an all-in-one view, but pays great attention to its ups and downs, from sadness and depression to joy and height, and from excitement to profundity, interwoven with a variety of complex and dignified feelings such as sadness, anxiety, fierceness, disappointment and hope, sigh and pursuit, which embodies the poet's unique euphemistic, deep, soft and meaningful lyric personality.