Motherland, my dear motherland
(Shu Ting)
I am your dilapidated old waterwheel by the river
Hundreds Spinning tired songs over the years
I am the blackened miner’s lamp on your forehead
Illuminating your snailing and groping in the tunnel of history
I am shriveled ears of rice; it’s a roadbed in disrepair
It’s a barge on the shoal
Putting the rope deep
into your shoulder
< p>——My motherland!I am poverty
I am sorrow
I am your ancestors
The painful hope
Yes "Flying" sleeves
Flowers that have not fallen to the ground for thousands of years
——Motherland
I am your new ideal
Just escaped from the cobweb of myth
I am the germ of the ancient lotus under your snow quilt
I am your laughter nest with tears
I am the newly painted snow-white starting line
It is the crimson dawn
It is gushing
——The motherland
I am you One billionth
is the sum of your 9.6 million square meters
You fed it with your scarred breasts
I am confused, I am deep in thought, I am boiling
Then get it from my flesh and blood
Your wealth, your Glory, your freedom
——Motherland
My dear motherland
Appreciation of patriotic poetry
Dai Wangshu "I use the damaged Palm》
I use my damaged palm
to explore this vast land:
This corner has turned into ashes,
That corner Just blood and mud;
This lake should be my hometown,
(In spring, the flowers on the embankment are like brocade barriers,
When the young willow branches are broken, there are Strange fragrance,)
I feel the coolness of Nymphoides and water;
The snowy peaks of Changbai Mountain are bone-chillingly cold,
The water of the Yellow River The mud and sand slip out between the fingers;
The paddy fields in Jiangnan are so soft...now there is only basil;
The lychee flowers in Lingnan are lonely and haggard,
Over there, I dipped in the bitter water of the South China Sea without fishing boats...
Invisible palms passed over the hateless mountains and rivers,
My fingers were stained with blood and ashes, and my palms were stained with darkness,
Only the far corner is still complete,
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 my love and all my hopes,
Because only there is the sun and spring,
p>
It will drive away the 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 iron hoofs of the enemy: "This corner has turned into ashes, / that corner is just blood and mud." Then, the poet's invisible palm touches a blue lake in his hometown. The current "slightly cool" lake water forms 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. The 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.
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