Dai Wangshu "I use my damaged palm"
I use my damaged palm
To explore this vast land:
This corner has been Turned into ashes,
That corner is just blood and mud;
This lake should be my hometown,
(In spring, the flowers on the embankment are like a barrier. ,
There is a strange fragrance when the young willow branches are broken,)
I touched the coolness of the waterweed and the water;
The snowy peaks of Changbai Mountain are so cold Bone-cutting,
The water of the Yellow River, mixed with sediment, slips out between the fingers;
The paddy fields in Jiangnan are so soft... now there is only basil;
The ones in Lingnan The lychee flower languishes lonely,
Over there, I dip in the bitter water of the South China Sea without fishing boats...
Invisible palms pass over the hateless mountains and rivers,
The fingers are stained with blood and ashes, and the palms are stained with darkness,
Only the far corner is still intact,
Warm, clear, solid and vigorous in spring.
On it, I caress it gently with my damaged palm,
Like the soft hair of a lover, the milk in a baby's hand.
I put all my strength in the palm of my hand
Put it on it, sending love and all hope,
Because only there is the sun and spring,
p>
It will drive away darkness and bring revival,
Because only there we will not live like animals,
die like ants... There, the eternal China!
This is a sincere poem written by the poet in the dark and damp dungeon of the Japanese invaders in 1942. It expresses the poet's sincere concern and sincere love for the disaster-stricken motherland, and also expresses his love for the disaster. The yearning for the liberated areas under the leadership of the Communist Party of China. In the first half of the poem, "I" use my "mutilated palm" to fondly caress the vast land of the motherland that has been ravaged by the enemy's iron hoofs: "This corner has turned into ashes, / That corner is just blood and mud." Then, the poet's invisible palm touched a blue lake in his hometown. The current "slightly cool" lake water formed a strong contrast with the beautiful spring scenery of the past when "the embankment was as prosperous as a brocade barrier", showing the poet's extreme sorrow and indignation at the enemy's trampling on his homeland. In order to make the theme expressed in the poem not superficial and narrow, the poet imagined the world from near and far, from north to south, from the snowy peaks of Changbai Mountain and the sediment of the Yellow River to the paddy fields in the south of the Yangtze River, the lychees in Lingnan, and the sea water in the South China Sea. . The poet chooses the most typical scenery in each region to color it. They are not only symbols of the suffering and misfortune of the people, but also witnesses of the crimes of the invaders. The two sentences "The fingers are stained with blood and ashes, / the palms are stained with darkness" not only summarize the first half of the poem, but also echo the first three or four lines.
The second half of the poem still unfolds in the imaginary world, depicting a picture of longing in the heart that is in great contrast with the previous disaster scene: although it is a "far corner", the mountains and rivers are intact. , no darkness and blood. Instead, it is full of warmth, light and vitality, "there is the sun and spring". Compared with the sad and melancholy tone of the first half, this part is beating with the poet's uncontrollable joy and excitement; compared with the rapid flow of lyrical images in the first half, the second half seems quiet and soothing, making this poem more popular in the world. Emotional sadness and joy are perfectly unified, and the lyrical style appears varied. In that era when violent roars replaced artistic contemplation, this poem was like a beautiful flower that never fades: the imagery is highly condensed but not obscure, the feelings are delicate but not dim, the profound realistic content and modern lyricism The ways blend perfectly.
Author: Qiyuan 2005-4-13 17:38 Reply to this statement
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2 Replies: Appreciation of Patriotic Poetry
Shu Ting's "Motherland, My Dear Motherland"
I am your river The dilapidated old waterwheel next to it
has been spinning tired songs for hundreds of years;
I am the blackened miner's lamp on your forehead,
illuminating you Slowly groping in the tunnel of history;
I am a withered ear of rice; I am a roadbed in disrepair;
I am a barge on the silt
I am a tow rope Deep
deeply into your shoulders;
——Motherland!
I am poverty,
I am sorrow.
I am your ancestor from generation to generation
The painful hope,
It is on the sleeve of "Flying Sky"
It has not fallen for thousands of years. Flowers on the ground;
——Motherland!
I am your brand-new ideal,
Just broken free from the cobweb of myth;
I am the germ of your ancient lotus under the snow quilt;
I am your tearful smile;
I am the newly painted snow-white starting line;
It is the crimson dawn
Now gushing;
——Motherland!
I am one billionth of you
Is the sum of your 9.6 million square meters;
Your scarred breasts
Feeds
the confused me, the thoughtful me, the boiling me;
Then get it from my flesh and blood
Yours; your wealth, your glory, your freedom;
——O motherland,
My dear motherland!
This poem draws on the circular sentence pattern "I am Goya,...I am..." in "Goya" by the former Soviet poet Voznesensky, but it also has creative development. Circular sentence patterns mostly appear in works that express strong emotions, and are best used to render sad and painful moods. Shu Ting writes about the relationship between "I" and the motherland. Using this sentence structure increases the depth of pain and love. The first section is a reflection on the history of the motherland. Five groups of images are carefully selected to symbolize the backwardness, poverty, and disaster-ridden face of the motherland for thousands of years: the first four lines are steady and long, rich in sound and color, giving people a deep and heavy feeling; The fifth and sixth lines are short and not descriptive; the last three lines are elongated, short and tight, showing the ups and downs of emotions and the appearance of the subject. The second section connects the previous and the following, revealing that the flower of hope contained in the soul of the Chinese nation has never died. Although disasters are severe, ideals will always exist, but they have not yet been realized. In this section, there are short sentences and then long ones, and then the main word reappears. It seems that the meaning is still unfinished, and a deep feeling of regret emerges from the writing. The third section expresses hope and high-spirited passion, using five groups of images to depict the face of the motherland that is in a historical turning point and is waiting for anything to be done. Each image has its own unique meaning, and the five groups are used together to form a metaphorical parallelism, which strengthens the excitement and enthusiasm and expresses the poet's joyful feelings. The first two lines of the fourth stanza use "one billionth" and "nine. motherland. Then there is a contrast between nourishing "me" with breasts and "obtaining it from my flesh and blood", highlighting the blood-breast relationship between "me" and the motherland; even confusion, deep thought, and excitement are opposite in nature to wealth, glory, and freedom. The contrast between them shows the infiniteness of pain and joy. If the first three sections are about the relationship between "I" and the motherland, the fourth section is about the relationship between the motherland and "me". The uneven syntax is a manifestation of extreme excitement. The whole article ends with a double call to the subject and reaches its climax.
There is not a single word of discussion in the whole poem, it is all described with images and run through with emotion. The chosen imagery is both rustic and distinct, unique and relevant, and every word fits closely with the scene being depicted. Lyricism is not an outpouring of emotion, but pays attention to its fluctuating rhythm, from sadness and lowness to joy and highness, and from excitement to depth. It is entangled with pathos, worry, passion, disappointment and hope, sighs and pursuits, etc. The complex and solemn emotions reflect the poet's unique euphemistic, deep, soft and timeless lyrical personality
Author: Qiyuan 2005-4-13 17:39 Reply to this statement
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3 replies: Appreciation of patriotic poetry
Guo Moruo "Coal in the Furnace"
Ah, my young girl!
I will not let you down,
Don’t let me down.
I am so burning for my beloved
!
Ah, my young girl!
You should know my predecessor?
Don’t you think my black slave is reckless?
It takes a black slave like me to have a heart like fire.
Ah, my young girl!
I think my predecessor
was originally a useful pillar.
I have been buried alive in the ground for many years.
It is only now that I can be reborn. See the light of day.
Ah, my young girl!
Since I saw the light of day again,
I often miss my hometown,
I am burning for my beloved one
Such a look!
The poet uses personification to compare himself to the burning "coal in the furnace", and uses personification to compare the motherland to "my beloved" and "young girl".
The whole poem is built on this set of core images. The image of "coal in the furnace" has rich aesthetic connotations: first, the blazing burning of "coal in the furnace" symbolizes the poet's passion to devote himself to the motherland; second, the "fire-like heart" under the black appearance of "coal in the furnace" Symbolizing the "humble" status and great personality of the working people, "coal in the furnace" refers to both the "small self" and the "big self" - the working people represented by the poet; thirdly, the meaning of "coal in the furnace" The predecessor "was originally a useful pillar" and finally "sees the light of day" after being "buried alive in the ground for many years". It symbolizes the poet's desire not to live a mediocre life but to make a difference. It also symbolizes the huge energy hidden in the working people that will transform the world. Release it. The image of "girl" implies that the poet's love for the motherland is as passionate as love, and the word "young" implies that the motherland is full of vigorous vitality during the May Fourth Revolution. Guo Moruo said in "Ten Years of Creation": "China after the May Fourth Movement is like a very pretty and enterprising girl in my mind. She is almost like my lover..."In the Furnace" "Coal" is my love song for her." This passage clearly illustrates the meaning and function of comparison in this poem.
The image of "coal in the furnace" melts the characteristics of things, the temperament of "my" and the spirit of the times in one furnace; writing about the burning of "coal" not only expresses the passion of "my", but also expresses the passion of "my". The sentiment of the people and the sentiment of the times. The artistic form is in perfect harmony with the emotions expressed. From the perspective of the composition, the first stanza summarizes the patriotism and the ambition to serve the country, the second stanza focuses on expressing patriotism, and the third stanza focuses on the ambition to serve the country. The last stanza overlaps with the first stanza, echoing back and forth, and the whole poem is pushed forward. Towards climax. Judging from the format and rhythm, each stanza has 5 lines, and the syllables in each line are generally uniform; the first, third, and fifth lines rhyme, with one rhyme to the end; and each stanza ends with a kind, gentle and affectionate call of "Ah, my young girl" Start singing, creating a beautiful melody that goes back and forth. The poetic mood rises and falls with the rhythm of the poem, and the charm is profound.
Author: Qiyuan 2005-4-13 17:40 Reply to this statement
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4 Replies: Appreciation of Patriotic Poetry
Wen Yiduo's "Ode to the Sun" (Excerpt)
The sun—— The speedy golden bird—the sun!
Let me ride you around the earth once a day,
and you can see my hometown once a day!
Wen Yiduo's "Ode to the Sun" (Excerpt)
This is a poem written by the poet while studying in the United States from 192 to 1925. The poet's fervent longing for his motherland actually produced such a magical and magnificent imagination. There is a line in Qu Yuan's "Li Sao": "The jade and the qiu are riding on the eagles, and the wind is lingering in the sky. The morning starts in the sky, and the evening reaches the hanging garden." The magical imagination in ancient and modern romantic poetry is in the same line. However, Qu Yuan only imagined riding a phoenix bird ("bird") in the universe, but the author of this poem actually wanted to ride on the sun, and his imagination was bolder than the ancients. (
Author: Qiyuan 2005-4-13 17:41 Reply to this statement
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5 Replies: Appreciation of Patriotic Poetry
Wen Yiduo's "One Sentence"
There is a saying that means disaster,
There is a saying Words can light a fire.
Although it has not been revealed for five thousand years,
Can you guess the silence of the volcano?