He Jia, pen name Shao Quanlin, is a disciple of the poet Wen Yiduo.
190510/kloc-0 was born in Zhucheng, Shandong Province on October 8th. Influenced by his grandfather and father since childhood, he laid a good foundation for classical poetry.
/kloc-in the summer of 0/923, he was admitted to the First Normal School of Shandong Province. During this period, I read many new literary works and began to write new poems.
1925 first published his works in the national publication yusi with few signatures.
1927 was admitted to Wuhan branch of the Central Military and Political School to participate in the Northern Expedition.
1929, Qingdao Republic of China Daily published a new poem "The Night in the Woods" for the first time, signed by Ke Jia.
1930 to 1934 during my study at national Qingdao university (later changed to national Shandong university), I was warmly taught and carefully helped by Mr Wen Yiduo and Mr Wang Tongzhao. His poems, such as Refugees and Old Horses, describe the miserable life of farmers in old China with concise verses. The long poem Black Hands of Evil exposes the evil and hypocrisy of imperialism. These poems are the representative works of his early poems and have become the classics in the history of modern poetry in China.
1932 started his new work and became famous with an old horse.
1933 published the first book of poetry, Brand, which was well received by predecessors such as Wen Yiduo and Mao Dun. The following year, the collection of poems "Black Hands of Evil" came out and became famous in the poetry circle.
1934 to 1937, taught in Linqing Middle School, Shandong Province, published a collection of poems "Canal" and a long poem "My Portrait", and created a collection of essays "Random thoughts".
1936 Joined the Writers and Artists Association of China.
After the outbreak of War of Resistance against Japanese Aggression, Comrade Cang Kejia closely linked his destiny with that of the nation and took an active part in anti-Japanese patriotic activities.
From 65438 to 0938, he joined the All-China Anti-Enemy Association of Literary and Art Circles and was elected as the director of Xiangyang and Yichang Branches.
1summer solstice of 1938 194 1 at the beginning of the year, he served as an instructor, secretary of the headquarters, member of the cultural work Committee, head of the wartime cultural work group and member of the 30 th Army in the Propaganda Department of the Anti-Japanese Youth League in the Fifth Theater.
194 1 autumn, he served as a member of the Senate of 3 1 and vice president and acting president of Sany Publishing House, preparing to publish the progressive publication "Dida Wen Cong", which was banned by the authorities after it was founded.
1July, 942, he resigned angrily and walked from Yexian County, Henan Province to Chongqing in the heat.
1943 was elected as an alternate director at the fifth annual meeting of the All-China Anti-Enemy Association of Literary and Art Circles in April. In the summer of the same year, he served as the Commissioner of the Relief Committee, responsible for editing the magazine "Education for Children with Difficulties" until the autumn of 1945.
1948 65438+In February, he was forced to dive into Hong Kong because of the serious white terror in Shanghai.
1949 In March, under the arrangement of the Central Party Organization, Comrade Cang Kejia came to Beiping. He has been a researcher in the Literature Creation Research Office of the College of Literature and Art of North China University, an editor of the General Administration of Publishing and People's Publishing House, an editor of Xinhua Monthly and a literary column editor of Xinhua Monthly.
1July, 949, attended the first congress of all-China writers and artists, and was elected as a member of all-China writers association.
1951June joined the China Democratic League and served as a member of the NLD Central Culture and Education Committee.
1956, Comrade Cang Kejia was transferred to the Secretariat of the Chinese Writers Association.
From 1957 to 1965, he was the editor-in-chief of Poetry magazine. After his contact, Mao Zedong's 18 poems were published for the first time in the inaugural issue of Poetry Journal, which had a great influence throughout the country.
1957 Co-authored Interpretation of Chairman Mao's Poetry with Zhou, which played an important role in the spread and popularization of poetry.
Persecuted during the Cultural Revolution, he was forced to stop his literary creation and social activities and was sent to the May 7th Cadre School in Xianning, Hubei. 1972 back to Beijing.
1June, 976, Poetry Magazine was reissued, with Comrade Cang Kejia as consultant and editorial board member.
An outstanding poet in modern times, a famous writer and editor, a loyal patriot, a close friend of China's * * * production party, a member of China Democratic League, a deputy to the second and third National People's Congress, a member of the fifth, sixth, seventh and eighth CPPCC National Committee, a member of the seventh and eighth Standing Committee, the first and second directors of the Chinese Writers Association, the third director, consultant and the fourth consultant. Comrade Cang Kejia, honorary member and president of the 6th and 7th Chinese Poetry Society, honorary president of China Mao Zedong Poetry Research Society and honorary president of China Writing Society, died in Beijing at 20: 35 on February 5th, 2004 at the age of 99.
After the outbreak of War of Resistance against Japanese Aggression, Comrade Cang Kejia closely linked his destiny with that of the nation and took an active part in anti-Japanese patriotic activities. From 65438 to 0938, he joined the All-China Anti-Enemy Association of Literary and Art Circles and was elected as the director of Xiangyang and Yichang Branches. 1summer solstice of 1938 194 1 at the beginning of the year, he served as an instructor, secretary of the headquarters, member of the cultural work Committee, head of the wartime cultural work group and member of the 30 th Army in the Propaganda Department of the Anti-Japanese Youth League in the Fifth Theater. He was full of strong patriotic enthusiasm and risked the enemy bombing. He went to the front line of Taierzhuang for an interview and wrote a long reportage "The Story of Blood on the North Line of Jinpu". He led the wartime cultural work group of the Fifth Theater to carry out anti-Japanese literature propaganda and creation activities in rural areas of Henan, Hubei, Anhui and Dabie Mountains. Regardless of personal safety, he organized "literary and art workers to join the army"; He risked his life to go to the front line of Sui-Zao to engage in the cultural propaganda work of resisting Japan and saving the nation, and once participated in the Sui-Zao campaign. During this period, Comrade Cang Kejia created and published a collection of poems and essays, such as Joining the Army and Singing on the Huaihe River, Walking with Jujube, which enthusiastically eulogized the great patriotism and heroic deeds of the anti-Japanese soldiers and civilians. 194 1 autumn, he served as a member of the Senate of 3 1 and vice president and acting president of Sany Publishing House, preparing to publish the progressive publication "Dida Wen Cong", which was banned by the authorities after it was founded. 1July, 942, he resigned angrily and walked from Yexian County, Henan Province to Chongqing in the heat. 1943 was elected as an alternate director at the fifth annual meeting of the All-China Anti-Enemy Association of Literary and Art Circles in April. In the summer of the same year, he served as the Commissioner of the Relief Committee, responsible for editing the magazine "Education for Children with Difficulties" until the autumn of 1945. During this period, he created and published a long poem "Old Trees and Flowers", a memoir "My Poetic Life" and a collection of poems "Song of the Earth" and "Selected Poems in Ten Years". Cang Kejia (1905. 10.8-2004) was born in Chengnuo, Shandong. /kloc-Before the age of 0/8, he lived in the countryside of Jiaodong Peninsula. 65438-0923 entered the First Normal School of Jinan Province. Influenced by the May 4th Movement, he learned to write poems. 1925' s first novel "Bie Bie and the plough" contains "Yu Si". /kloc-in the autumn of 0/926, he was admitted to the Central Military and Political School to take part in the campaign against the reactionary army Xia Douyin. After the failure of the Great Revolution, he fled to the northeast. 1929 He entered the cram school of Qingdao University and published Tao Xin's Silent Night in the Woods. 1934 graduated from Chinese Department of National Shandong University. At school, Wen Yiduo and Wang Tongzhao encouraged and helped me to write new poems. 1932 published his first poem "Refugees" in the seventh issue of Volume 4 of New Moon. 1933 published the first book of poetry, Brand. Then he published two poems, Black Hands of Evil, Canal and a long poem, Self-portrait. From 65438 to 0936, Cang Kejia joined the Chinese Writers Association and was one of the pioneers of China's realistic new poetry. He inherited and developed the realistic tradition of new poetry from two aspects. First, he extended the singing of new poems to farmers and rural areas in old China. Before him, no poet could describe farmers and countryside so successfully. Secondly, he promoted the construction of China's modern narrative poems, that is, the blending of the poet's inner world and the outer world. Cang Kejia is a charming poet in China. He consciously absorbed nutrition from China's classical poems and modernized them, casting the China style of his works. His poems have implicit lyrical ways, emphasizing "hiding", poetry is outside the poem, and the pen has hidden front; His poems use a simple and refined way of speaking, which is refined and ingenious; His poems pursue a harmonious and pleasing musical way, and "knocking" is one of the criteria for Cang Kejia to refine Chinese characters. He seeks the harmony of syllables, sonorous and moving, and increases the aesthetic feeling of readers' hearing. In the history of the development of new poetry, there are few realistic poets with China style like Cang Kejia, which is worthy of further study in academic circles.
For the history of modern and contemporary literature in China, Cang Kejia is a rich existence, and his literary activities have lasted for more than 70 years. The Complete Works of Cang Kejia published at the end of 2002 has 12 volumes, with nearly 6.3 million words. Cang Kejia is an important page in the history of modern and contemporary literature in China and one of the pioneers of China's realistic new poems.
Cang Kejia is famous for his new poem, but his prose, covered by the title of this poem, has also made great achievements. It should be said that his prose and poetry are equally divided in the time and quantity of creation. Prose and memoirs, including Wild Shop, Frog, Meeting in the Cave, Sea, Fire and My Poetic Life, are a major topic for prose critics. In his later years, Cang Kejia was old and sick, unable to touch the fresh life, so he "turned his head upside down when he was old, and wrote more prose and less poetry". "I try my best to grasp prose to express the interest of my poems." [1] Cang Kejia's poems seldom tend to be dull; On the other hand, his prose pursues poeticization-it contains the soul of poetry, which establishes the flavor of Cang Kejia's prose. Some partisans even say that "writing is not as good as poetry".
From a horizontal perspective, first of all, it seems that children who know nothing about the world and have not sweated are not sad enough; The second time was the "sweaty" father, whose melancholy mood showed poetry; Finally, grandpa who died of sweating showed his sadness. The life of a peasant in the soil! From a vertical perspective, the three images of children-father-grandfather represent not only three generations, but also countless generations. This is the embodiment of the life track of farmers from generation to generation in China, and each image is highly summarized. The meticulous observation, profound thinking, ingenious writing and strong aftertaste are beyond the reach of other poets. This alone, the achievement of Cang Kejia, a "peasant poet", goes without saying.
Cang Kejia put great emphasis on writing only what he is familiar with, which is a major feature of his realism. On the relationship between "the needs of the times" and "being familiar with oneself", he emphasized familiarity with the subject matter. Of course, with the changes of the times, poets should be familiar with the new and unfamiliar life in the past, which is complete realism. In his preface "A War in the Middle" written for Song of the Earth 1946 edition, he said: "When can I stop worrying, grieving and angry about their tragic fate and sing such ugly songs? When, let me sing a happy and liberated song for them-China farmers, in truth, just like they sing a sad song? " He was familiar with farmers in old China, so he wrote about farmers in old China. But he also longs for new people and a new world.
Cang Kejia is always attracted by the natural scenery of the countryside. As long as the conditions are met, his inspiration will come easily, so one excellent work will come out. 1942, he finished Song of the Earth, which is Cang Kejia's most important work besides the satisfaction of the brand and the poet himself. After the beginning of the Anti-Japanese War, poets and writers reflected on their own creation-empty enthusiasm disappeared, high-profile cries became hoarse, and some poets and writers returned to familiar themes, looked at old themes with new aesthetic eyes and wrote new works in the new era. So Ba Jin wrote Spring (1939) and Autumn (1940). Cao Yu writes about Beijingers (1941); Mao Dun wrote that frost leaves are as red as February flowers (1943); Cang Kejia wrote his 1 1 poetry collection Song of the Earth. Compared with those urgent chapters that sing current affairs directly, Cang Kejia said: "I am best suited to sing such songs, but maybe I can only sing such songs." [16] 1944, when he edited Selected Poems of Ten Years, few works directly representing the bonfire of the Anti-Japanese War were selected.
Cang Kejia's poem is a philosophy brewed in lyricism, and it is a philosophical poem. Wen Yiduo once had an incisive conclusion, "There is not a poem of Ke family that does not have extremely real life significance." This "extreme truth" comes from the poet's philosophical summary of his concern and grasp of the essence of life. "Three Generations", a "very true" lyric short poem, has simple, concise, cold and profound artistic characteristics.
During the War of Liberation, Comrade Cang Kejia participated in many progressive activities, such as "truce and peace". In Chongqing, he was invited to attend a symposium of cultural figures held by Comrade Mao Zedong in his Zhang Zhizhong apartment. In Shanghai, he edited literary supplements of the Voice of Overseas Chinese, such as Xinghe, Learning Poetry, Writing Poetry and Wenxun, and United a large number of progressive writers. Angry at the dark corruption of politics, he wrote a large number of political lyric poems and political satire poems, and published poems such as Baby, Zero Life and Winter, which had a wide influence. 1948 65438+In February, he was forced to dive into Hong Kong because of the serious white terror in Shanghai.
1949 In March, under the arrangement of the Central Party Organization, Comrade Cang Kejia came to Beiping. In May, he published a group poem "What he saw, heard and thought" in People's Daily, expressing his joy after he arrived in the liberated areas. Later, he served as a researcher in the Literature Creation Research Office of the College of Literature and Art of North China University, an editor of the General Administration of Publishing and People's Publishing House, an editor of Xinhua Monthly and a literary column editor of Xinhua Monthly. 1July, 949, attended the first congress of all-China writers and artists, and was elected as a member of all-China writers association. 1951June joined the China Democratic League and served as a member of the NLD Central Culture and Education Committee.
1956, Comrade Cang Kejia was transferred to the Secretariat of the Chinese Writers Association. From 1957 to 1965, he was the editor-in-chief of Poetry magazine. After his contact, Mao Zedong's 18 poems were published for the first time in the inaugural issue of Poetry Journal, which had a great influence throughout the country. During this period, he devoted himself to the organization and leadership of prospering and developing socialist literature, played an important role in the publication and development of Poetry Magazine, and made remarkable achievements in prospering poetry creation and strengthening the construction of poetry team. At the same time, full of infinite love for the motherland, the party and the people, I am tireless and diligent in creation. As a passionate and prolific poet, he was active in China poetry circles in 1950s and 1960s, and ushered in another peak of his creation. He has published poetry anthology "Selected Poems of Cang Kejia", "Triumph" and long poem "Li Dazhao". Among them, some people-in memory of Lu Xun's feelings, Chairman Mao's smile on the Yellow River and other well-known works have been selected into middle school Chinese textbooks many times. 1957 Co-authored Interpretation of Chairman Mao's Poetry with Zhou, which played an important role in the spread and popularization of poetry.
Comrade Cang Kejia was persecuted in the "Cultural Revolution", forced to stop his literary creation and social activities, and was sent to the "May 7th Cadre School" in Xianning, Hubei. 1972 back to Beijing. 1June, 976, Poetry Magazine was reissued, with Comrade Cang Kejia as consultant and editorial board member.
After the downfall of the Gang of Four, Comrade Cang Kejia, who was over 70 years old, was full of literary thoughts and ushered in the spring of creation. He sang a heartfelt hymn to the new period of socialism, and published poems such as Recalling Xiangyang, Falling in the Red Dust and Cang Kejia's Old Style Poems. Prose collections such as Huai Ren Ji and Poetry and Life; Random Thoughts on Learning Poetry, On Poetry by Ke Jia, Appreciation of Classical Poetry by Cang Kejia, etc. The Complete Works of Cang Kejia, a 12 volume that condensed his life's sweat and hard work, was also published in June 5438+February 2002.
Cang Kejia's works have won many awards and have been translated into many languages, which have a wide influence at home and abroad. 1April, 1988, won the honorary award of the first literary periodical editor of Chinese Writers Association; 1In August, 990, Appreciation of Mao Zedong Poetry, edited by him, won the Golden Key Award of the National Book and the first prize of the Fifth China Book Award. 199 1 10 received special government allowance from the State Council. June, 5438+October, 2000/KLOC-0 won the lifetime achievement award of the first "Xiamen-Singapore Cup China Poet Award"; In June165438+1October of the same year, he won the Lifetime Achievement Award of the First Dragon Culture Gold Award of the International Yanhuang Culture Research Association. From June 5, 2002 to 10, he was awarded an honorary doctor of literature by the World Congress of Poets and the World Art and Culture Society. In 65438+February of the same year, he was awarded the gold medal of "China Contemporary Poetry Soul" by the 7th International Poets' Pen Club. From June 5438 to February 2003, The Complete Works of Cang Kejia was nominated for the 6th National Book Award.
Comrade Cang Kejia loves the Party, the people and socialism, and earnestly studies Marxism–Leninism, Mao Zedong Thought, Deng Xiaoping Theory and Theory of Three Represents. In his creative career of more than 70 years, no matter during the revolutionary war years or during the period of socialist revolution, construction and reform and opening up, he cared about the future of the country, the destiny of the nation and the development of literature with great enthusiasm, enthusiastically eulogized the cause of revolution, construction, reform and opening up and socialist modernization led by the Party, and actively advocated writers to go deep into life with short poems, old poems, essays, critical letters and novels. He adheres to the direction of "choose one from two" and the policy of "letting a hundred flowers blossom", unites and cares for middle-aged and old-aged poets and enthusiastically cultivates young poets. He witnessed the whole history of China's new poetry from birth to development, and made outstanding and indelible contributions to the development of China's new poetry.
Comrade Cang Kejia's life is a life of unremitting pursuit of light, a life of consciously expressing the times and serving the people wholeheartedly, and a life of diligent writing, painstaking efforts and constant climbing of artistic peaks. He is keen in thinking, clear in love and hate, kind and upright, optimistic and open-minded, decent in style, simple in style, approachable, open-minded and cheerful, frugal in life and strict with himself. He devoted his whole life's energy and painstaking efforts to the literary cause of the party and the people selflessly.
Mr. Cang Kejia died in 2004 and was buried in the Overseas Chinese Cemetery in Beijing Wanfoyuan.
With the death of Comrade Cang Kejia, China lost a master of literature, a pearl of contemporary poetry and a respected and beloved teacher. We will always learn from him and miss him.
Comrade Cang Kejia is immortal!
Edit the poem published in this paragraph.
Starting from 1933, he published his first book of poetry, Brand, which is his most influential work. This collection of poems sincerely and simply shows the decline of rural areas in China, the sufferings and perseverance of farmers, and the worries of the nation.
Since then, he has published more than a dozen collections of poems and long poems, including Black Hands of Evil, Self-portrait, Song of the Earth, Baby, Zero Life and so on.
During this period, Cang Kejia's poems were short, but they were quite general. In addition to consciously learning the structural methods of classical poetry, he formed a dignified, concentrated and refined style, and deliberately pursued novelty, originality and visualization of words, but at the same time he was plain, clear and colloquial.
After the founding of People's Republic of China (PRC), Cang Kejia wrote many political lyric poems, among which Some People is his masterpiece. This poem was written to commemorate the third anniversary of Lu Xun's death/kloc-0. Its uniqueness lies in its philosophical theme: man lives for the better of most people. In fact, this theme has gone beyond the scope of praising Lu Xun's spirit and introduced readers into deeper thinking about life. Simple language, strong contrast and vivid image are the artistic characteristics of this poem.
In addition to continuing to write short and meaningful poems, Cang Kejia also wrote a biographical poem "Li Dazhao". This long poem shows the great and ordinary personality of a revolutionary pioneer from many angles such as fighting and family.
Theme implication
Cang Kejia's Some People is an unforgettable poem commemorating the third anniversary of Lu Xun's death/KLOC-0. In the whole poem, the author uses comparative methods to express "why do people live?" How should I live? " A profound theme. With great admiration for Lu Xun, the poet praised Lu Xun's noble character of being willing to be the people's cattle and horses, and at the same time severely criticized and satirized those who wanted to live forever on the people's heads.
product analysis
The poem begins with an epigram, "Some people are alive and he is dead; Some people died, and he is still alive. Through the comparison between the two life values of "though life is like death" and "though death is still alive", the poet suddenly leads the reader into the philosophical realm of poetry, points out the theme and dominates the whole article. Although it is easy to understand, it has a large capacity, strong generalization and thought-provoking.
The following six parts can be divided into two layers:
The first three verses (the second, third and fourth verses of the poem) are the first layer, which is conceived immediately after the first verse of the poem. While praising Lu Xun, the poet is also praising people with the same qualities as Lu Xun, condemning those who claim to be "greater" than the people and should set up a monument for themselves. This contrast shows the breadth and depth of this poem's thought. The poet compares these two kinds of people from three aspects: image, thought and sentiment. In terms of image, people who "ride on the people's heads" are actually insignificant, although they are cocky and claim to be "great"; And the people who "serve the people as cattle and horses" are great, although they bend down and look humble. These four lines are from Lu Xun's poem "Self-mockery", in which "look at a thousand fingers coldly and bow your head as a willing ox". The poet developed Lu Xun's thoughts and poems, making the opposition of images more prominent and distinct. From the ideological point of view, people who are "life is worse than death" always want to be "immortal" and "carve their names on stones" to set up a monument for themselves; And those who are "alive after death" are willing to act as nameless weeds. They hate to use weeds as decorative "ground", waiting for the underground volcano to erupt and burn all the weeds and trees on the "ground" until they are "not rotten" and everyone dies together. This passage is based on a passage in Lu Xun's "Wild Grass Inscription": "I love my wild grass, but I hate the ground decorated with wild grass. The fire ran underground and rushed; Once the lava is ejected, it will burn all weeds and even trees, so it will not rot. " Finally, from the perspective of sentiment, people who are "life is worse than death" and "others can't live if he lives" are very despicable and ugly, while people who "live regardless of death" and "live for the better of most people" are very noble and beautiful.
The last three sections (sections 5, 6 and 7) are the second floor. The poet grasped the relationship between the two kinds of people and the masses mentioned in the first section and pointed out their different fates, influences and endings, which is the logical development of the second, third and fourth sections. The fifth section still focuses on the opposite image. Those who "rode on the people's heads" and claimed to be "great" were eventually overthrown by the people and fell heavily, while those who "worked for the people" were always remembered by the people. The sixth section writes two different objective effects of two different subjective thoughts: those who want to erect a monument for themselves, their names rot earlier than the bodies; And those who are willing to be weeds will always be remembered by the people. Lu Xun is like this, and so are people with the same quality as Lu Xun. In the last section, people with different feelings have completely different endings. Those who "can't live if he lives" will never come to a good end. As long as the time comes, everyone can see their fate. As for those who "live a better life for most people", the people will hold him high. Lu Xun is the representative of this kind of person. As early as the first anniversary of Lu Xun's death, Comrade Mao Zedong pointed out his three characteristics: political foresight, spirit of struggle and spirit of sacrifice. 1940, he made a lofty evaluation of Lu Xun in On New Democracy: "Lu Xun was the leader of China's cultural revolution. He is not only a great writer, but also a great thinker and revolutionary. " "Lu Xun is on the cultural front, representing the majority of the whole nation and charging the enemy. The direction of Lu Xun is the direction of the new culture of the Chinese nation. " Comrade Mao Zedong spoke highly of Lu Xun on behalf of the people. Of course, not only Lu Xun, but anyone who "lives for a better life for most people" deserves "the masses to think highly of him".
Artistic feature
This short poem mainly uses contrast. All seven verses of the poem adopt the method of comparison, comparing the life of "bowing down and being a willing ox" represented by Lu Xun with another life of "riding on the people's heads" with immortal dreams. One is good, the other is evil, the other is beautiful and the other is ugly, and its essence is more and more distinct, highlighting the theme. This poem is ingenious in conception, which expands the realm and capacity of the poem.
The poet did not forget the visual characteristics of poetry when he expounded profound philosophy through comparison. Some people "ride on others' heads." Oh, how great I am! "Some people' bend down to be cattle and horses for the people', one' ride', one' lean', one' go up' and one' go down', presenting two completely different images with rich connotations and clear love and hate." As long as the spring breeze blows, there are green weeds everywhere, which vividly shows the immortality of revolutionaries. The metaphor of "devoting yourself to be an ox and a horse for the people" and "being willing to be a weed and waiting for the fire" can not help but remind people of Mr. Lu Xun's great spirit and noble character, which is the poet's intention. ,
Poetry is written in memory of Lu Xun, but not directly in memory of Lu Xun, but by some people. In this way, the images in the poem remind people of Lu Xun and are not limited to Lu Xun, which brings a wide range of social significance to the poem. This short poem contains the poet's deep thinking and calm observation on life for decades, which makes this poem highly typical and has a lasting vitality.
This poem embodies the poet's always cautious, refined and simple artistic style. Neatly corresponding poems, powerful language, epigrams and ups and downs of rhythm bring readers into the aesthetic realm of integrating poetry and philosophy, and make readers' souls baptized by lofty feelings.