This poem can be divided into two parts. The first part shows the deep concern for the fate of the motherland: although my palm has been "damaged", I still have to grope on the "vast land" of the motherland, and I only touch "blood and ashes", thus feeling that the motherland is shrouded in the "darkness" of suffering. In the second part, the poet's hand finally touched the "distant corner", that is, the liberated area that was "still intact" and was not ravaged by the invaders. The poet gave deep praise to this land symbolizing "eternal China". Describe the darkness in the occupied areas, proceed from reality and connect them with distinctive small pictures. Describing the beautiful scenery of the liberated areas, we should focus on freehand brushwork, touching people with emotion, and touching people with emotion. Coupled with a series of metaphors of warm and intimate atmosphere, the poems reveal warm and beautiful colors. It can be said that this poem is not only the crystallization of the poet's long-term feelings, but also the sublimation of his patriotic spirit in suffering and depression.
In terms of artistic techniques, this poem does not shy away from the direct expression and evaluation of things, but the expression of thoughts and feelings is mainly realized through the composition of images. Illusion and virtual application are the main creative techniques of this poem. The poet was in prison, imagining the vast land of the motherland as if it were in front of him. He can not only really see its shape and color, but also feel its warmth and smell its fragrance. This virtuality strongly shows the poet's deep feelings for the motherland. In the virtual overall image, the poet also described the real things with intuitive details: the flowers on the embankment are like flowers, the fragrance of tender willow branches, the snow peaks in Changbai Mountain, the Yellow River with sediment, and the litchi flowers in Lingnan. These meticulous descriptions reveal the poet's attachment and love for the motherland, as well as his grief over the heavy disaster suffered by the motherland. It is worth noting that in the visual description of the details, the poet also used the technique of "virtual imagination": touching the "slightly cold" water, feeling the "biting" Changbai Mountain, and the Yellow River water "slipping through the fingers with sediment", all of which are the imagination and virtuality in the visual description, and are the embodiment of the illusion of "I grope with a broken palm" in the poem. As for writing "there is no fishing boat in bitter water", "the fingers are stained with blood and gray, and the palms are stained with darkness", when writing about love for the liberated areas, it is said that the palm touching "is like the soft hair of a lover, the milk in a baby's hand", which is a combination of metaphor and simile. In particular, the metaphor of "like the soft hair of a lover and the milk in a baby's hand" is just right and contains rich feelings, which has been praised again and again.
(Selected from the Dictionary of Appreciation of New Poetry, Shanghai Dictionary Publishing House, 199 1 edition)
Introduction to I Use Broken Palm (Wu Sijing)
War of Resistance against Japanese Aggression's bullets knocked a group of modernist poets out of the ivory tower. They no longer have leisure to "stand on the bridge and watch the scenery" and "decorate other people's dreams". Modernism seems to give people the impression that this is the self-appreciation of a group of spiritual nobles behind closed doors. Therefore, when Dai Wangshu wrote his touching poem "I Use the Broken Palm", people found that it was broad, broad, deep and clear, which was completely different from the exquisiteness, exquisiteness, sadness and mystery of his early works. Many critics think that he has moved towards realism. There are also some scholars and poets who have made great achievements in foreign literature, such as Yuan Kejia. They see modernist techniques in their bones, but it seems that only a few people agree with this view. I think that a person may say different things at different times, but the way behind these words may not change. That's why I have a strong attraction with my damaged palm.
This poem first uses a surreal technique: "I grope for this vast land with my broken palm" is the soul of the whole poem. Dai Wangshu once said: "Poetry comes from reality through imagination, not only from reality, but also from imagination." The damaged palm was originally small, but it can explore the vast land. For a while, "touch the algae and make the water cool", and for a while, "let the water of the Yellow River slip through your fingers". This sharp contrast between the big and the small constitutes a unique background. Under the influence of this context, there is a tension between the connotation and extension of "palm". "Palm" is not only an individual's palm, but also the injured and "damaged" palm of the whole nation. It is hurt, but it is still wide, as wide as a vast land. It transcends the tangible palm of the individual and becomes the intangible palm of the nation: the invisible palm sweeps the infinite mountains and rivers, and the invisible palm sticks to the same invisible darkness. Romanticism and symbolism also want to create surrealism, but mainly rely on illusory and exaggerated images. However, this surreal effect in modernist works is mainly obtained through language, which emphasizes that under the unique context, abnormal collocation such as paradox and irony is used to expand or deform semantics, so as to achieve an effect of "reasonable in irrationality".
To some extent, the works cover up the subjective feelings and the image of the lyric hero, and send them to a vivid image and corresponding actions, namely "injured palm" and "groping" with the palm. The inner pain turned into a wounded palm; Love for the motherland and regret for the decline of rivers and mountains have become affectionate explorations, just like a mother stroking a child and a child caressing her mother. It is through this vivid image and action that an aesthetic distance is formed between the author and reality. When "the invisible palm sweeps the infinite mountains and rivers", when "I touch with the damaged palm" and when "I convey all my strength in the palm", it seems that a soul is observing this kind of suffering, persistence and belief from a higher place. In this way, there are two selves in the poem: one is a member of life on the vast land, and the cruel war and life have given him a pair of broken palms, and he is the experiencer of life; The other self is the wounded soul of our nation, which is universal and eternal. He transcended time and space and looked at this page of history with profound eyes, not only seeing suffering, but also pointing out hope and strength. After a careful understanding of the latter self, it seems that we can still vaguely feel a little mysticism connected with the author's early works.
China's modern lyric poetry can be divided into three lyric ways: romanticism (emotionalism), symbolism and modernism. The romantic lyric way is to express one's feelings directly and hit the reader's heart with emotional statements. For example, the song Sophie, a woman crying to death written by Gao Lan was born almost at the same time as I used a broken palm, and was told for a while: "Where have you been? My Sophie! /Last year's day/You sang "Hit Japan's Export Gas" on the stage! /Today of this year! /Your grave is covered with green grass! ..... "Four exclamation points and a question mark are used in the short five-line poem. Ai Qing and his July poems, which were influenced by him, adopted more symbolic lyrical ways and endowed images, light and colors with universal connotations. Such as Ai Qing's "Gray and Yellow" tune, "Land" and "The Sun" by Aaron. To understand the meaning and feelings, it depends mainly on the reader's association. Modernist lyricism, although similar to symbolism, also contains symbolic elements, but more subtle. It emphasizes that through the reproduction of some daily experiences, readers can be aroused to have corresponding memory representations, so that readers can realize the feelings behind such experiences by recalling and experiencing their own similar experiences. This feeling belongs to both the author and the reader. It is not imposed on the reader by the author, but aroused from the reader's heart by the author through some daily experience. Once this feeling is aroused from the reader's heart, it is heartfelt, internal, profound and lasting.