In Zhu Guangqian's famous piece "The Man Disappears at the End of the Song, the River is on the Peak" (1935), by commenting on two poems in Qian Qi's Hunan Trial Drum Instrument, he clearly put forward the ideal of "silence" about poetry. He said: "The highest state of art is not enthusiasm. As far as the poet is concerned, he may feel more joy and sadness than ordinary people. As far as the poet is concerned, after the warm joy or warm sadness is expressed through poetry, it is just like the yellow rice wine has lost its spicy taste after long-term storage, but it is just plain. " "Silence" is a feeling of epiphany and refuge, and it is also a wonderful understanding and comfort to know the eternal existence from the fading Vientiane. In the west, the typical art of silence is Apollo, the god of poetry, while China takes Tao Yuanming as the poet who really achieves the ultimate silence. "Tao Qian is full of silence, so he is great."
Zhu Guangqian's view that "the highest state of art is silence" is not a temporary view of one person and one thing, but a basic artistic ideal that he germinated from the beauty of silence and has been exploring and deepening in decades. The development of this artistic ideal is a line that runs through the history of Zhu Guangqian's aesthetic thought. The red line is: the real realm of art is the infinite ideal realm beyond reality (unspeakable beauty), which is the crystallization of the transformation of the pain of life into a beautiful image (tragic psychology). Art is not a meaningless image far away from life, but a reflection on the freedom of life, which inspires people to deeply understand and resonate with art (literary psychology, talking about beauty). The realm of art is subjective to objective (interest to image) and the realm of artist's self-purification and sublimation (on poetry). Therefore, the ideal state of art is silence, not fanaticism (it is said that there are several peaks on the river at the end of the song).