In "The Goddess", a lyrical short poem that clearly shows a vigorous and bold style is the most representative one. The main feelings and impressions given by this poem are: grand, powerful, magnificent and fiery. The majestic images and surging passion in the poem make people marvel and admire, arouse people's conscious awareness of their own strength and great enthusiasm for life, and inspire people to use all their life force to strive to create, pursue light, and obtain The art of strength, the beauty of strength. This is the unity of sublimity and magnificence. What the author sings is a passionate hymn that expresses sublime beauty.
On the one hand, this poem shows the majestic and magnificent scenery of nature through a true reflection of the natural landscape. The natural images in the poem have unusual scale, area, volume, and power. They arouse readers' surprise and admiration. A kind of violent passion washes away the mind, so that people have some kind of sublimity and greatness in social life from this natural image. On the other hand, what is more important is that after the poet uses his entire life and personality to create art, the natural image is impregnated and permeated with the poet's subjective feelings. The natural phenomenon blends with the poet's subject and becomes a living thing. A living being with feelings. This strong and rich typical feeling in a specific environment symbolizes a certain social content, thereby achieving a clear reflection of social reality and the spirit of the times, showing a positive sublimity, a magnificence full of optimism and enterprising spirit.
The following is appreciation:
Throughout the whole poem, the poet imagines himself as a giant standing on the edge of the earth, looking across the vast world, and making a passionate call. The poet closely adheres to the point of view of "standing on the edge of the earth", and with the help of a broad vision, he connects the Arctic Ocean at the North Pole of the earth with the Pacific Ocean in the hinterland of the earth, and connects the countless raging white clouds in the clear sky of the Arctic Ocean with the vastness of the Pacific Ocean. The two grand images of vast expanse of waves are combined together, so the images of natural objects show their grandeur, splendor and power with an area, quantity and power beyond what people usually see. More importantly, What's more, through the description of nature, we can see the tall image of the lyrical protagonist, peek into his fulfilling heart, and feel his boiling passion. The unique emotions and psychology displayed by the lyrical image are exactly the reflection of It shows the unique characteristics of the revolutionary intellectual youth awakened by the fury of the May Fourth era.
Because the poem is influenced by pantheism and draws poetic sentiment from the ever-moving power of all things in nature, it must contain the praise of the spontaneous force in the universe, but its core image is still the five elements. The embodiment of the Sturm und Drang spirit of the Four Era. It can be seen from the collection of poems "Goddess" that before the May Fourth Movement, Guo Moruo once imagined the white clouds as "thirst-quenching ice" in the poem "New Moon and White Clouds", and wanted to use it to quench his "fire-like thirst". Anxious heart"; in the poem "The Temptation of Death", the "green sea water" outside the window is also described as a place where sad poets seek relief. But at this time, less than a year later, they were both white clouds, but they surged in the clear sky, and they were both oceans, but they had infinite power. This comparison shows that it was the stimulation of the reality of the May 4th Revolution and the inspiration of the spirit of the times that the poet was inspired by, which caused great changes in the natural images in his works. After grasping the poet's passion rooted in the life of the times and the soil of reality, the following two lines of poetry will not just be understood as a praise of abstract power:
Ah! The rolling waves are coming before my eyes!
Ah! Constant destruction, constant creation, constant efforts!
The expressive scope spreads out from the scenery in front of you, and it has indeed risen to the level of some kind of philosophical summary. With the grand realm and majestic momentum, the poet suddenly thought about the earth, the sun, the moon and the stars, the endless future, the boundless, beginningless and endless universe, and eternity. Immortal process. However, this expression of the dialectical development process of life embodies the poet's thinking about history, the times and reality, and his praise of creativity. Among the advanced intellectuals of the May Fourth period, Guo Moruo was not the only one. For example, Li Dazhao once wrote in the article "Youth" that people should "take the career of the universe as their own career, and take the youth of the universe as their own youth. The universe is endless, that is, the youth is endless, that is, the self is endless. The spirit of this is that The spirit of life and death is the spirit of reincarnation. This spirit is generous and tragic, and the spirit of the world... Only those who truly have this kind of spirit and spirit can enjoy the endless youth of the universe." ("Selected Works of Li Dazhao") 》)
The following goes from the praise of force to the eulogy of "the painting of force, the dance of force, the music of force, the poetry of force, the rhythm of force". This kind of description still does not leave the specific scene of the "rolling waves" of the Pacific Ocean in front of the poet's eyes. "The painting of force, the dance of force" is Hong Tao's form, "the music of force, the poetry of force" is Hong Tao's voice, and the "rhythm of force" is Hong Tao's rhythm and melody. In short, this is a beautification of "force", giving "force" a common image of artistic beauty; at the same time, it is a praise of the artistic beauty of force, a praise of the sublime beauty full of force.
We know that Guo Moruo's own poetry, whether from the spiritual content of resistance to destruction and free creation, from the specially developed imagination and passion and the corresponding colorful romantic techniques, or from his informal From the perspective of one pattern, exerting artistic originality and realizing the great liberation of poetic style, they are all bold and fruitful practices of this powerful art. From here, we can also see Guo Moruo's confidence and affirmation of the sublime and beautiful style of his poetry.
This poem is grand in spirit and has a broad realm, but it is an improvised poem that expresses emotions based on the scene and objects. It is what Goethe called an "improvised poem on the occasion" that "takes advantage of the opportunity" and "comes from real life". ". It starts from the scene of the Arctic Ocean and the power of the Pacific Ocean in front of us, and sings a hymn of the power of constant destruction and creation. The characteristic of this natural expression of sensibility is that this poem rarely uses declarative sentences and mostly uses exclamatory sentences. The declarative sentence is also a powerful sentence like "The infinite Pacific uses all its strength to knock down the earth." Exclamatory sentences mostly contain parallel phrases, which are short and powerful. Although the lines of the whole poem are uneven, with different numbers of pauses and no rhyme, there is still order in the chaos and an inherent rhythm and rhyme. This poem was written by Guo Moruo in the excitement of "standing on the edge of the earth", with the raging waves rolling over the earth vigorously, "unable to help the blood jumping and the ringing of the wrists", so it has the "rhythm of the sea waves". As the author said, if the sound of the bell first rises and then subsides, "it is very strong when it is first struck, and gradually weakens with a weak lingering sound", then the sound of the waves first subsides and then rises, "in the early stage, it starts from the heart of the sea." It gradually rolled up, faster and faster, and when it reached the shore, it shattered into pieces with a "snap"" ("On Rhythm") This is the rhythm of this poem. The author also calls this the "encouragement tune" when "listening to military songs, bugles, and drums."
All these show that the form of this poem is also consistent with the characteristics of sublime beauty