Wei Liu's Artistic Features and Ideological Connotation in Hey, Big Forest by Gong Liu

"Hey, big forest! Author Liu, formerly known as Liu, is from Nanchang, Jiangxi, 1927. Poetry creation began in the 1940s. He is the author of poetry anthologies: Short Song on the Border, Shengang, North China, City of Dawn, White Flowers and Red Flowers, Cactus, Wild Grass, Mother Jujube of the Yangtze River, Camel, Great Shanghai, Dream Butterfly, Selected Poems of Gong Liu and Narrative Poems. In the early 1950s, with naive joy and youthful ambition, Gong Liu sang in the southwest frontier, praising the people's army's loyalty to the motherland and the liberation of brotherly nations. His timbre was clear, cordial and cheerful, just like a shepherd playing a flute and playing a morning song. After Gong Liu returned to the literary world, he never forgot the historical tragedy and always paid attention to the fate of the nation and the future of the country with alert eyes. Many of his poems are old, sharp, profound and cold, full of dialectical views and philosophical implications.

"Hey, big forest! It was written by a poet who came back from the martyrdom of Zhang Zhixin martyr in Dawa, Shenyang, and felt that the martyr had been killed. This is an excellent poem that is cynical, concerned about the country and the people, contains profound reflection and warns the future. In the first paragraph of the poem, the poet takes the "big forest" as a symbol, and uses it to symbolize the * * * production party and the new socialist China that benefits the people. This is the "I love" that the poet once defended and the hope that the people trust very much. However, the "Cultural Revolution" made it erase the memory and forget the history so quickly, which was unexpected for the martyrs to continue to hate. In this regard, the poet is extremely confused. He said, "Is this the sea? ! This is what I like? ！” While questioning loudly, he expressed great indignation at the "noise" of the "Cultural Revolution" turmoil, constantly "whitewashing" and hastily "burying". In the second section, the poet expressed the great pain that what was originally full of vitality would become "decadent" and "corrupt". This kind of pain "comes from the process of seeking the answer as well as after obtaining the answer". In the last section, out of the sense of crisis that the "big forest" is facing disaster, the poet warned the world in time: if the woodpecker is not brought to treat its patients early, it will definitely turn to dust. This "sound" is so chilling that it shows the poet's great anxiety about the fate and future of the country and his high vigilance against the possible recurrence of the ten-year turbulent history.

"Hey, big forest! Use symbolic means to express reality, express feelings directly, discuss with sharp contrast, and issue warnings with anthropomorphic means. Reduplication is widely used in poetry to strengthen thoughts and feelings. The use of parallelism and duality also makes this poem lively and forceful. In particular, the choice of fierce words and the arrangement of parallel progressive sentences make the poem magnificent and enhance its fighting role.