(Liu134-138) Ⅳ (Combining with the works, this paper analyzes the similarities and differences between Guo Xiaochuan and He Jingzhi in the creation of political lyrics. Ⅳ) Give a modern and contemporary example, and briefly describe the influence of Russian poetry in the 20th century on China's modern and contemporary poetry. Ⅲ)
1. The political lyrics of Guo Xiaochuan and He Jingzhi are not only the product of China history, but also the product of China culture. In poetics, we call political lyrics "ode-new poetry". Guo Xiaochuan's and He Jingzhi's political lyric poems relive Fu's aesthetic experience with high spirits in 1950s. Moreover, both He Jingzhi's "Oriental Stepped Style" transformed from Mayakovski's poetic style and Guo Xiaochuan's "New Ci Fu Style" recast from China's classical poetic style convey the majestic momentum, strength and prospect of a great era with the unique rhythm and rhythm of Chinese, which, like the annual military parade in Tiananmen Square, has become an unrepeatable language celebration of an era. Guo Xiaochuan's To Young Citizens, Looking Up at the Starry Sky, One and Eight, Autumn in Tuanbowa, and He Jingzhi's Back to Yan 'an, Singing, Ode to Ten Years and Song of Lei Feng are simply chronicles of people and national poems.
Secondly, they also have some similarities in the expression of political poems.
1, He Jingzhi combined Mayakovski's "staircase" rhythm with the harmonious rhythm of antithesis and parallelism in China's classical poetry and prose, and changed the multi-storey staircase in Mayakovski into two corresponding stairs. This not only has the uneven rhythm transformation, but also has the symmetrical solemnity in our national poetry tradition. Such as his "Singing".
He Jingzhi also developed the northern Shaanxi folk song "Journey to Heaven" into two lines of poems with strong national style, such as "Back to Yan 'an" and "Guilin Landscape Song". This symmetrical and juxtaposed poetic style has a slow and orderly lyric rhythm, and the poetic thoughts jump from line to line, from section to section, and the emotional ups and downs, leaving readers room for imagination and emotional gyration.
He Jingzhi also used the three, five and seven words of classical poetry to create a new semi-metrical singing style, such as his Song of Sanmenxia.
2. Guo Xiaochuan also inherited the traditional Fu style and Bi Xing. He laid out even sentences, antithesis and parallelism, and constructed a semi-metrical vernacular poem style, that is, a long sentence style and a short sentence style with relatively rigorous mode and roughly symmetrical text, which flowed naturally and sonorous in rhyme. The long sentence style is the so-called "new ci-fu style", such as poetry and Xiamen charm; Long and short sentences are the so-called "semi-prose free style", such as poems such as toast songs.
Third, the difference between the two is also obvious. He Jingzhi has never (or rarely) shown cracks and conflicts between individuals and groups, individuals and history, and emotional individuals and historical essence. In his poems, "lyric subject" has been fully "essentialized", and individuals with limited life have been transformed into infinite existence full of confidence by integrating into the whole and grasping the "historical essence". In Guo Xiaochuan's noteworthy works, the contradiction in the process of individual's "essentialization" attracts people's attention.