In the liberated areas, as a direct product of the Yan 'an Forum on Literature and Art, there appeared a climax of long narrative poems in folk and national forms. With the development of the people's liberation movement and the people's war, the poems in the liberated areas recorded the hardships, struggles and victories of the people in the form of Long song. Representative works include Wang Gui and Li Xiangxiang, Ruan's Catch-up Biography (I), Ruan's Trap, Ruan's Death, Ruan's Complaining, Li Bing's Zhao Erqiao, Ruan's Zhang River Water, etc. These works were finalized by Zhang Jing during the war and published after the birth of New China. At that time, Wang Xijian, He Jingzhi, Ge Bizhou, Yan Chen and others all devoted themselves to the creation of popular poetry. Among the PLA and guerrillas, the "gun poem" is quite popular. Bi's Allegro poem embodies this achievement, and it also pays attention to revolutionary content and popularization in form.
In the Kuomintang-controlled areas, the direct social function of poetry is to expose and attack decadent things. The main forms are folk songs and minor tunes, so Shui Yuan's "Ma Fantuo Folk Songs" and Cang Kejia's "Baby" and other works appeared, but there are also a number of poets with free verse as the basic form. They belong to "July" and "Nine Leaves". The former is centered on July, Hope and Selected Poems in July edited by Hu Feng, and its main members are Luyuan, Along,,, Ji, Peng Yanjiao, Dugu,,, Huatie, Luo Luo, Xu Fang, Lu Dian and Zheng Si. Influenced by Ai Qing, most of them affirmed the fighting role of poetry, unified the aesthetic struggle embodied in poetry with people's social responsibility, and sang today and tomorrow for the people with simple, natural, clear, sincere and independent voices. The representative works were selected in the anthology of 20 people in glistening flowers. The latter is centered on China's new poetry, poetry creation and forest poetry, and the representative poets are Xin Di, Mu Dan, Du, Chen, Hang Youhe (Cao Xinzhi), Tang Qi, Tang Shu and Yuan Kejia. They perceive the people's voice from the turmoil of war, attach importance to the poet's own experience of social phenomena, pay attention to the polishing of poetry techniques and the novelty of images, and pursue the fluency of images and the three-dimensional sense of sculpture. They are familiar with foreign modern poetry to varying degrees and have been trained. Because they pay attention to the artistic effect of combining the speculation of philosophical poetry, the skills of social poetry and the charm of lyric poetry, which is more profound than the poetic style at that time. His masterpiece focuses on the compilation of Nine Leaves.
The second half of the 1940s was a disastrous period, and it was also a period when darkness was about to retreat and dawn was not far away. Whether the poets in the liberated areas sing for the day or the poets in the Kuomintang-controlled areas whisper for the cold night, the theme of the new poem is the call for the dawn of the motherland, like a brave bird fighting and flying in the storm.