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Ai Qing's early poems praised the sufferings and misfortunes of the motherland and the people by revolutionary realism, and reflected the tragic fate of the Chinese nation. At the same time, his poems inspired those people in Qian Qian who didn't want to be slaves and fought bravely for the inviolability of sacred land. Because the content of poetry, a special literary form, should be highly summarized and concentrated, and the expression needs full and strong feelings and rich imagination, the use of colorful images can make the image more full and vivid. The so-called image is the things and scenery that can express a certain feeling, the subjectively recreated image and the "concrete feeling". It can be seen that the visualization of poetry can not be separated from the concrete and vivid description, but also from the author's subjective feelings. Ai Qing's early poems pay attention to arousing emotion, exerting association, capturing and selecting images, and condensing them into images by describing concrete sensible things, which is one of the most remarkable characteristics of his early poetry art.
When reading Ai Qing's early poems, I found that the images used by Ai Qing are quite rich in extension, that is to say, his poems reproduce life in a realistic way, with diverse images, wide range of expressions and rich symbolic significance. For example, there are a few lines in the poem "The Sun" written by 1937 at the beginning: "I am shocked by the sleeping mountains. If the steamboat flies over the sand dunes, the sun will roll towards me." It is a concrete feeling of the coming of light, implying the irresistible majestic momentum of the coming of the bright era. As the starting point of the sun, the poem "Spring" begins: "Spring has arrived, and Longhua peach blossoms." As we all know, Longhua is the execution ground for Chiang Kai-shek to slaughter revolutionaries in Shanghai, where the blood of countless revolutionary martyrs is deposited. The poet found poems here, which aroused the poetry and expanded the artistic conception, and used a series of images to enlighten us: the peach blossoms in Longhua bloomed in the "dark night in the East", those dark nights were "blood spots", those were "starless" and "windy", and the scarlet blood of martyrs bloomed buds on the peach trees in Longhua, which gave birth to the spring in the south of the Yangtze River. This spring from the "tomb cave" is the poet's call for the spring symbolizing freedom and victory through night and blood, and it is the crystallization of the poet's life belief. Another example is the sentence in Death: "The earth is dead ... it died in despair; At the end of his life, he still kept his dry eyes open, longing for a raindrop to fall from the zenith ... "This is a symbol of the earth, depicting people's painful and desperate mood in a dry year. Ai Qing's famous work Dayan River-My Nanny is a model of using images. The whole poem uses images to express the scenery of some things in many places, giving people a feeling realm of blending scenes. In the poem, the poet directly pointed out the special relationship between Dayan River and "I", then introduced her memories of Dayan River and described her bitter experience in life: "Dayan River, I saw snow today, which reminded me of you: your grave was covered with grass, your garden pawned by a square foot, your stone chair covered with moss in front of your door ..." We know that Ai Qing. He didn't return to his hometown until he was five years old, which made him feel the hard life of farmers from an early age and linked his fate with them. So, when he saw the heavy snow through the prison window in the morning, he remembered his childhood, his hometown, and the nanny Dayan River, who once nursed him with his own milk and has now been buried in the "grave covered with grass under the snow". These images infuse the author's subjective feelings and the poet's emotions. After Ai Qing's subjective re-creation, we can feel that the image description in Ai Qing's works is not purely realistic.
Use colorful images to express rich and profound ideological content, express deep and melancholy feelings, make lyric images more full and vivid, and fully reflect Ai Qing's unique artistic characteristics. During the May 4th Enlightenment, Guo Moruo often used metaphors and symbols to express his feelings with the help of an image, but most of the natural scenery and images in his poems were humanized and deified to express his feelings directly. This is different from Ai Qing's expression method of blending images with emotions and organically combining subjectivity with objectivity. At the same time as Ai Qing, Cang Kejia's poems are attached to and based on reality. He pays more attention to replacing the direct catharsis of subjective emotions with objective and accurate images, and tends to be purely realistic when capturing concrete and sensible images from real life to form images.
The rich extension of Ai Qing's poetic images is consistent with its profound connotation. Ai Qing is also writing about the sun, spring, dawn and night, and also writing something tangible. Ai Qing can endow it with profound ideological content, thus forming an organic unity of art and ideological content in his poems. For example, at the beginning of the poem "Snow falls on the land of China", it creates a symbolic cold and sad atmosphere and image: "Snow falls on the land of China, and the cold is blocking China ..." Then it personifies: "The wind,/like an overly sad old woman,/closely follows/stretches out cold fingers/tugs at the skirts of pedestrians. /In words as old as the land/all the time ... "The" wind "and" snow "here are not only the true description of natural scenery, but also the artistic portrayal of the reality of war at that time. They not only show the cold of nature, but also hint at the political climate and national destiny, and express profound ideological content, paving the way for poems to pour out their heartfelt feelings and express their deep feelings for the country and the people. Another example is the poem "Beggar". In order to show the miserable situation that the working people in China have been displaced and become beggars under the ravages of Japanese imperialism, the beggar's manner and some unique movements are described in detail: "In the north, beggars stare at you with stubborn eyes/see what food you eat/pick your teeth with their nails." From these images, we can feel the hunger and pain of beggars and their hunger for food, and at the same time have a deeper understanding of the dark reality of old China after the Japanese imperialist invasion.
Judging from the poetic style, before liberation, Ai Qing cursed the darkness and eulogized the light with deep, intense and unrestrained brushwork. After the founding of the People's Republic of China, he continued to praise the people, praise the light and think about life. His songs "Return" are more extensive in content, deeper in thought, deeper in emotion, more diverse in techniques and more sophisticated in art. After the founding of the People's Republic of China, his poems are Cheers, Gem Red Star, Cape, Spring, Song of Return, Colorful Poems, Exotic Poems, Snow Lotus and Ai Qing. Ai Qing became an outstanding person with his singing style full of artistic individuality, and practiced his poetic aesthetic proposition of "simplicity, simplicity, concentration and liveliness".
The emotional color of Ai Qing's poems, the melancholy of farmers, the grief and indignation of tramps and the martyrdom consciousness of intellectuals form the unique emotional color of Ai Qing's poems.
(1) Ai Qing's poetry has created a peak of modern free poetry with its prose beauty. Ai Qing's poems are sincere in feelings, simple in language, untidy in external form and not particular about rhyme, which is more free than some free bodies in the past. Ai Qing's poetry is a new achievement after the development of modern new poetry for nearly twenty years. Therefore, in its growth, it absorbed the extensive nutrition of modern new poetry. At this time, free verse developed greatly, including the practice of political lyric poetry by Jiang Guangchi and Yin Fu, and Bing Xin's short poem form. More importantly, new poetry has been advocated and explored by metrical poetry and introduced and practiced by symbolic poetry. At the same time, he was also widely influenced by foreign poets, such as Whitman, Mayakovski, Ye Saining, Porter, Ranbo and Wahallen.
(2) Ai Qing pays attention to the capture of images, which is poetic and implicit, and rarely expresses his mind directly. The images in Ai Qing's poems are the combination of his subjective feelings and objective images, which leads to a kind of poetry. "Snow falls on the land of China" is a kind of scenery and a portrayal of China at that time. Ai Qing's poems are thought-provoking and memorable because the images are accurately captured. Although there is no room for expressing feelings, because of the symbolic and associative functions of the images themselves, this is where his poems are higher than ordinary free poems. Even the trumpeter image in narrative poems still contains certain symbolic significance.
(3) Although Ai Qing's poems are informal, they attach great importance to skill and artistry. In Snow Falls on the Land of China and North China, the wind and the land are described by carving, in Beggar, the expression of hunger is expressed by drawing lines, and in New Year's Eve, the dried-up pond is compared by personification. In the use of language, we should pay attention not only to rhetoric, but also to color.