Ma Fantuo, Yuan Shuipai (1907~ 1983), a native of Wuxian County, Jiangsu Province, has published poems such as Man, Sunflower, Winter Winter, Boiling Years, etc., mostly political lyrics. In the mid-1940s, he began to write satirical poems under the pseudonym of Ma Fantuo, and later collected them as "Ma Fantuo Folk Songs" and "Ma Fantuo Folk Songs Sequel". This is the most influential collection of political satire poems in Kuomintang-controlled areas at that time. Manito folk songs take the current events and life that urban citizens are familiar with and concerned about as the theme, and adopt a popular form that is close to the public's acceptability, which not only depicts the doomsday scene of the Chiang family dynasty, but also mercilessly satirizes and attacks it with relaxed and humorous but sharp-edged poems. Like prose, it is not only a spear and dagger of poetry, but also a cartoon of poetry. Therefore, Ma Fantuo's folk songs have distinct characteristics of current political news commentary. Some poems expose the international reactionary forces. Most of them are aimed at major domestic political events, such as Live and Die, which exposed the looting of the Kuomintang after the victory of the Anti-Japanese War, Towel Election, which exposed the election of the pseudo-National Congress, Armistice, which opposed the civil war of the Kuomintang, Battle of Shanghai, which demanded the withdrawal of American troops from China, and Police House Patrol, which exposed the rule of Kuomintang spies, and so on. This kind of poetry is well written and political. Some poems expose the extravagance and power desire of the ruling class (such as Exquisite and Intimidation), and complain that the people are exploited and oppressed (such as Ten Thousand Taxes and Adventures of Wang Xiaoer), which can arouse the emotions of * * * among the citizens. What Ma Fantuo's folk songs reveal is often irony itself. "The New rickshaw" and "The Artist's Question" write that the Kuomintang is facing the end, and it is necessary to repair the city appearance and decorate the facade in Shanghai. "Four Elephants" and "Sea Monsters" reveal all kinds of strange phenomena that Kuomintang rulers reverse black and white. This is the most concentrated expression of the poem "Invoice Sticks to Printing". This poem uses popular folk "strange songs" to list a large number of abnormal phenomena: "jeeps drive on people", "houses are built on gold bars, factories die on receptions, and blackberries are built on chimneys", "democracy is painted on the lips, and conditions are freely attached" and "the head hits the bullet, and peace touches the knife tip" ......, which has effectively dealt a blow to the Kuomintang reactionaries. Because of the wide exposure, the whole folk song together is the strange status quo of semi-colonial cities on the eve of the collapse of the Kuomintang regime. 1946 In Hong Kong, someone made up a play with 10 folk songs. It once played a fighting role in the urban student movement during the War of Liberation. Ma Fantuo's ballads follow the principle of "satirizing life is real", and generally do not make too much analysis and comments, but pay attention to letting the facts speak for themselves. But these facts are not necessarily a specific real event in life (except sometimes news), and they have also been selected and processed by poets, especially in order to achieve ironic effect, appropriate exaggeration should be carried out to make unreasonable and ridiculous things more noticeable. A "Song of Reform" did not describe how hypocritical and deceptive the Kuomintang was. The poet only put forward the contents of the reform advocated or allowed at that time: "Take off the gown and wear a suit and hold a gram", "Drive left and right, and all the shops will be renamed as shops", "The boss is called the manager, beginning of spring is called the Farmers' Day, and mahjong does not play sparrows" ... ",which is enough to explain the so-called" reform ". Some poems also pay attention to typicality, so they can be revealed in depth with concise poems. For example, "A Cat": The Warlord Age: Hose, Knife, Returning Government to the People: Gun with Gun. Suppressing students viciously, I saw a foreigner's cat: Wu Miao Wu Miao, do you want it? With the meekness and cruelty of foreign adults' cats to the people, he painted a realistic portrait for the Kuomintang. In addition to the ridiculous content itself, folk songs are humorous, witty and inflammatory, some of which make people laugh and play a critical and ironic role, but others are flashy. At that time, folk-song poetry had become the mainstream of poetry creation in the liberated areas. Ma Fantuo's folk songs draw lessons from folk songs and minor tunes, which are popular in form and can also be said to be urban folk songs in Kuomintang-controlled areas. Yuan believes that "on the whole, China's new poems have a strong western flavor, at least stronger than Chinese flavor." So he praised Tao Xingzhi's poems, because they are like folk songs, easy to remember and spread.
From the 1920s, Tao Xingzhi insisted on using folk songs and ballads to teach poetry. Five poems and songs of Xingzhi have been published. Guo Moruo prefaced his poems, pointing out that he liberated the poetic style earlier than the writers in the liberated areas and took the lead in creating a unique atmosphere. Cang Kejia also wrote some good satirical poems at that time. He also believes that "today, not only poetry should be politically ironic, but also poetry with political irony should be further demanded." There are some satirical poems exposing Kuomintang reactionaries in Baby, Zero Life and Winter, but their styles are different from those of Yuanshui School.