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 bank 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 Japanese Communist 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 longing picture that is in great contrast with the previous disaster scene: although it is a "corner of a distant land", 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.