Overall perception
By imagining the scene after death, this poem expresses a fearless heroism-blood and snow are integrated, flowing in the river in May, nourishing the vegetation on the earth, and the plains after snow will appear sky blue, water green, birds flying and fish swimming. The theme of this poem is lofty and tragic, and the writing of this kind of theme is easy to become superficial and empty, but this poem is solid and powerful.
The whole poem has fifteen lines, but it can be roughly divided into four levels: the first two lines are the first level, the last five lines are the second level, the last seven lines are the third level, and the last line is the fourth level.
"Will we fall in this big Amb Lee?" The first sentence was a rhetorical question, which caught the reader's attention at once. The reader may ask: Why does the poet ask? What do you mean by "falling down" and "this blizzard"? Please pay attention to the "this" in "this blizzard", which points to the present and gives people a sense of existence. Immediately after this question, the poet gave the answer: "Yes, we will." It is very concise and lively, emphasizing the facts in the question with a positive tone, and transforming the question of "we will" from the previous sentence to the categorical affirmation of the latter sentence. This is the first layer, which presents the problem of death to readers in a virtual scene. This floor sets a high tone for the whole poem: high spirit and tragic.
Next, the word "two" not only represents a turning point, but also a continuation, which leads to the scene that "blood will melt with snow" and is absorbed as "root", "grass beard" and "River in May". This is the second level, which deepens the theme of the first two sentences: death is not terrible, it will move.
The next eight lines begin with the word "He", revealing the "Plain after Snow". This is a peaceful world that has been baptized by blood and fire: blue sky, green water, birds flying, fish swimming … a beautiful scene of peace and tranquility. This is the third level, which is the continuation and deepening of the previous theme: martyrs exchanged blood for people's peace.
The last sentence of The Wind seems to write "Wind" along the thread of "sky", "water", "bird" and "fish", but the author's brushstroke suddenly changed and "tombstone" suddenly appeared in front of readers. This is the fourth floor, which is the key sentence of the whole poem, and it can be called the finishing touch, so that poetry can be fully revealed.
Problem inquiry
1. Why does this poem use virtual scenes?
This poem unfolds the poetic meaning of the whole poem in a virtual scene, full of strange romantic imagination: first, the soldiers fell heroically in Amb Lee, then the blood moistened the trees and grasslands with the melting of the snow, and then the plain was peaceful after the snow. There are four places in the poem that indicate the future usage. These virtual scenes are connected together: "Will fall …" "Will follow …" "Will show …" and "Will blow …" This virtual way implies the author's tragic feelings and hopes.
2. What are the functions of symbols and metaphors in this poem?
Symbols and metaphors are used in this poem, which makes it implicit and meaningful, and contains complex thoughts such as sadness, nostalgia and calmness. It is worth noting that the overall symbol of the artistic conception of the whole poem and the metaphorical meaning of "snowstorm": the artistic conception constructed by the whole poem has strong symbolic significance, especially "sky blue", "water green", "bird flying" and "fish swimming" symbolize a peaceful and quiet atmosphere; "Blizzard" describes the natural scenery, but actually refers to the cruel war and disaster in reality, and the corresponding "plain after snow" refers to the land after the disaster. We must carefully understand the meaning of these symbols and metaphors.
Language taste
The language use of this poem is also worth pondering, with emphasis on the use of sentence patterns and punctuation marks.
The author of this poem was an important member of the "July Poetry School" in the 1940s. This poem has some characteristics of "July Poetry School": it adopts free verse style, with different sentence lengths (the longest is twelve words, and the shortest is two words), and it is good at infiltrating the poet's personality and emotion into the object of writing and transforming the inner emotional flow into the image flow. The plural first person "we" is used in many places in the whole poem to convey this emotional flow, which makes the poem more appealing.
The use of punctuation marks in this poem is very distinctive: the first sentence uses "?" Expect the unexpected. , giving people a great shock; The second line "Yes, we will" has only five words, but it uses two punctuation marks. The tone is very concise and powerful. At the end of the seventh line, ""means that the flow of emotions is stopped at will; Then at the end of the ninth line, a ","is used to indicate some kind of transition and hint. What is most worth tasting is the "……" in the last line, at which time poetry has been sublimated to an abrupt end, giving people endless effects.
I. Introduction to the author
Zou Difan (1917-1995) is a native of Tianmen, Hubei. Literary creation began in the 1930s. 1936 published the long poem "coffin maker" and "man without wings". After War of Resistance against Japanese Aggression started, he joined the All-China Anti-Enemy Association of Literary and Art Circles. 1938 After graduating from Hubei Normal School, he engaged in anti-Japanese propaganda work in Dabie Mountain, Guilin and Hong Kong. 1940 studied in the Department of Foreign Languages and Economics of Fudan University in Chongqing. 1948 forced to go to Hong Kong at the beginning. After liberation, he has been engaged in cultural and literary work, and served as the editorial director of Wen Yi Daily. Zou Difan is one of the important poets of "July Poetry School" which appeared after the beginning of the Anti-Japanese War. His poems belong to a series of political lyrics, but they pay more attention to the artistry of poetry than some political lyrics in the 1920s and 1930s. The main poetry collections are Tianmen (1937), Muchang (1938), Dust Collection (1937), Snow and Village (194 1), and. After liberation, five or six books of poetry were published, such as General Attack Order and Going North. At the same time, he also has some novels and translations.
Second, untitled appreciation (Li Yukun, Li Bin)
When the poet wrote this poem, he was in Hong Kong, but his heart was in the People's Liberation War. The title of the poem Untitled is actually a heroic ode and a fresh and unique political lyric poem. From the description of this poem, we can see that it praises the revolutionary martyrs who fought and sacrificed for the people's liberation.
The material of this poem is unique. It describes not the battlefield filled with smoke, but nature; It praises not the fighting achievements of heroic martyrs, but the significance of heroic martyrs' bloodshed and sacrifice. And writing this means not how to get rid of the old, but how to cultivate the new. This kind of material itself is divorced from the general "ode to heroes", which makes people feel strange and fresh, but it also achieves the purpose of praising heroic martyrs.
The writing of this poem is also very novel. At first, we came abruptly with realistic brushwork, asking ourselves and answering questions, saying that we would "fall in this big Amb Lee". No hesitation, no sadness, no shouting, no embellishment. In the unpretentious description, the true colors of heroic martyrs' sacrifice are displayed. This writing is very different from peacetime. Then, he suddenly changed his style and wrote it down with romantic symbolism. The author puts aside society and people and concentrates entirely on nature. It is said that the blood of martyrs is absorbed by trees, grass and rivers, and the plain after the snow melts is a vibrant scene of "sky blue/water green/birds flying/fish swimming". These images are unique entities and symbolic at the same time. It is about nature, but it symbolizes society. Finally, the wind blows the hero's tombstone, leaving a sound. If the martyrs really have the so-called spirit in heaven, they will also show happy smiles in the face of this peaceful, happy and interesting new world! This makes the whole poem get rid of the number of general political lyrics and have a brand-new artistic conception.
The style of this poem is fresh and implicit. The whole poem shows the great significance of martyrs' sacrifice, and no word directly shows this significance; The poem wrote the tombstone of a heroic martyr, but there were no flowers, no people in silence, only a breeze blowing. Everything written by the poet seems ordinary, but there are endless meanings in this ordinary. After reading the poem, readers will think that the bright world of "sky blue/water green/birds flying/fish swimming" is the crystallization of the blood and life of martyrs, not the gift of the creator; Readers may even think that under the blue sky, beside the green water, on the grass around the "hero tombstone", someone is staring at the "hero tombstone" and meditating ... a short poem with less than 100 words can make readers think, and its meaning can be imagined.
Under the influence of Ai Qing, the "July Poetry School" was a group of poets formed in the 1940s, with the theorist and poet Hu Feng as the core and publications such as July, Hope (edited by Hu Feng), Poetry Reclamation (edited by Zou Difan and Yao Ben) and Poetry Creation as the basic positions. The main poets are Zou Difan, Lv Yuan and Ji Lang. Most of their works have been included in Hu Feng's July Poetry Collection (two episodes and eighteen volumes), July New Poetry Collection and July Literature Collection. White Flowers, published by 198 1, contains the works of twenty poets of the July Poetry School. Under the guidance of revolutionary realism, these poets took free verse as their basic creative method, and their poems had a great influence in War of Resistance against Japanese Aggression and the Kuomintang-controlled areas during the War of Liberation.
Regarding the characteristics of this school of poetry, Luyuan said in the Preface of Glittering Flowers:
First of all, they think that the life of poetry is not endowed by rules, words, poems, etc. In a sense, poetry is beyond words, and poetry is in life; Poetry is hidden in the objective world before it is written, where poets are expected, attracted and induced to discover, capture and grasp. Poetry is not ready-made, and it is impossible to get it at hand. It stubbornly dodges in front of poets, refuses to boast the myth that "a thousand words depend on one horse", especially refuses false enthusiasm and luck, and asks poets to explore, eliminate, brew and work hard. However, the hero of the poet is the poet himself, and the poet's own character must be rock-solid and bounce like a heart in his poems. All objective materials must be based on this, and then turned into poetry. No matter whether there is the word "I" literally or not, any real poem can't hide the poet himself from readers, nor can it rule out the poet's subjective lyric to the objective world; Rejecting subjective lyricism also excludes poetry, so there is hope, joy, joy, hatred, sadness and anger in poetry, but there is no cold description and no boring discussion.
Secondly, they think that the form of free verse is not as irregular as the opponents think, and they can write whatever they want. On the contrary, the poet attaches great importance to form, precisely because he attaches importance to content and poetry itself. Form is always the image reflection of living content, which must be restricted by the content. Without the creative process of exploring, eliminating and brewing the content, it cannot exist a priori. Therefore, the form of poetry should mature and produce with the content; If the latter is compared to the soul, the form is the body of poetry, not the clothes that can be worn casually. Therefore, the form of poetry is not a simple general form, but an integral part of the whole poem which is inseparable from the content. Content creates form and sometimes destroys form; Form expresses content, and sometimes it stifles content. The harmony and unity of content and form is the highest realm of poetry.
..... For this group of young artists in the 1940s, poetry could not be self-expression and aesthetic pursuit, let alone a tool for recreation, entertainment and even the pursuit of fame and fortune; For them, especially those poets who live directly in the fighting team, poetry is a bullet fired at the enemy, poetry is a flower for the people, and poetry is a voluntary letter to encourage and spur themselves to join the party ... They firmly believe that in their own creative process, only by relying on the truth of the times and the truth of the poet's own mileage and attitude towards the times can artistic truth be produced.