This is the touching point of Heda's artistic personality, but it is also the deficiency of Heda's poetry. He Da's poems drew a lot of themes and poems from China's revolution, construction and the world national democratic revolutionary movement, got rid of narrow personal feelings and gained a broad emotional world, but after all, he stood outside China's revolution and construction, which was different from the climax of the patriotic democratic movement in the 1940s. His understanding of the complex contradictions in China's social reality and his experience of the times are inevitably vague and superficial. His subjective attitude of "giving him a happy ideal in everything" sometimes comes from the poet's wishful thinking, which masks the poet's deeper understanding of the reality that he is not completely happy. As a poet whose lifelong artistic pursuit is poetry, he strives to make his works published in the form of "voice" at mass gatherings. In addition to taking advantage of various opportunities of studying in Hong Kong, he gave 42 recitations and lectures in more than 20 cities in the United States when he was invited to participate in the International Writing Center in Aihobi on 1976, and was later invited to give recitations and lectures in London, Berlin, Paris, Geneva and Italy. 1979 went back to the mainland twice and gave more than 40 lectures and recitations in more than a dozen cities. But even so, these recitations of world revolutionary themes, which are mainly about artistic appreciation, are essentially different from the recitations with great emotional motives that he made in the climax of the student movement in the1940s. Zhu Ziqing's "live in action, complete in action, complete in action" is unlikely to arouse the listener's "action" to complete a poem. This is the poet's misfortune, and it is also one of the reasons why He Da's later poems can't reach the strength of his earlier works.