When the volunteers were in the ice and snow, the subtropical rain forest in the southwest frontier was cheerful and quiet, full of new laughter and filled with the fragrance of deep valleys. "Compared with the military poetry group in the Korean battlefield, the military poetry group in the southwest frontier is more poetic. The living environment of the poetry group there-strange and beautiful natural landscape, magical and profound folk culture, etc. It is more benign and poetic. " [6] Soldiers who have just come out of the war can't help but be poetic in the face of immediate peace and tranquility. A group of young intellectuals, represented by Gong Liu and Baihua, wrote a new chapter in contemporary military poetry here.
In the early 1950s, Gong Liu sang in the southwest frontier with naive joy and youthful childishness, echoing the joy of new China, praising the people's army's loyalty to the motherland, the liberation of brotherly nations, and describing the unprecedented social changes and the spirit of the people turning over and becoming masters of their own affairs in this land in southwest China. The timbre is clear, fresh and more intimate, just like a branch flute playing a cheerful morning song on the edge of a mountain stream and a forest. At that time, the young poet was very excited, as the poet rebuked in a poem: "I crossed the Han Meng Plain/my whole heart was full of poems/whenever I set foot on this land/I felt the music/I felt the bright sunshine/I felt the cry of life" ("I crossed the Han Meng Plain"), and the poet's creative passion surged like a fountain after the rain. During the period of 1955, the People's Literature published three series of poems by Gong Liu, namely, Wawashan Group Poems, Xishuangbanna Group Poems and Ximeng Morning, which showed the colorful struggle life of the southern border guards and the people of all ethnic groups in the border areas in the early days of the founding of New China. People were immediately shocked by the wonderful scenes and unique styles in his works. Ai Qing praised his poems, as described in his poems, as a "strange cloud" with the coolness of the deep valley bottom and the brilliance of the elusive rising sun [7].
Gong Liu's poems are unique in conception, concise, meaningful and full of philosophy. For example, Mountain Trail: "A path winds in the mountain/I climb up the mountain along it every day/this mountain is the commanding height of the frontier defense position/and my bayonet is the real peak." The exotic customs and magnificent scenes of the frontier will eventually converge into a strange and beautiful cloud in the sound of leaves and flutes in Gongliu, like the dense atmosphere slowly transpiration. Another example is what the poet wrote in peace. On the March night in the frontier, "young people who forgot to sleep/were chatting through the window lattice", a meteor occasionally slipped across the horizon, and nosy dogs also held their heads high and barked ... A happy and quiet moonlit picture of Taoyuan was drawn in just a few strokes. After reciting this beautiful night, the poet closed his pen and asked, "Everyone loves peace/".From concrete images to abstract philosophical thinking, this became a typical poetic way to express the feelings of soldiers in his early poems. "This expression from the description of phenomena to the sublimation of thoughts not only became the initial blank of the' Li Ying model', but also had a far-reaching impact on later military poems." [8]
In the days of frontier fortress, the poet always felt the love of people of all ethnic groups for frontier fortress soldiers. In The First Dai Soldier, he wrote: "Men, women and children love him/because he is the first Dai Soldier". In girls, this kind of love sometimes turns into love quietly. "There is a A Dai girl/someone who has fallen in love with a border guard/... Chairman Mao can usually/tell her which one to choose/... Sometimes she sings crazily,/sometimes she is dumb and silent/asks her why/she just points at her heart ..." (Heart). But this kind of love is secret and shy, and the people they love are ignorant. In Since I Came to the Frontier, there is a beautiful girl who is madly in love with a young frontier soldier, but the other party doesn't know it. The spoony girl wants to become a gun, "stay with you, stay with you, and never give up!" " It vividly shows the girls' longing and shyness for love, and also conveys the infinite love of border guards by border residents. The love poems written by poets in this period are fresh and delicate, simple and natural, as simple and pleasant as drinking mountain springs.
During his stay in Yunnan, Gong also participated in the creation of the long narrative poem Ashima, in addition to poetry anthology Bianguan Short Song (Hubei People's Publishing House, 1955), Shengtie (Hubei People's Publishing House, 1955) and Dawn City (China Youth Publishing House,/kloc-0). 1953, Gong Liu collaborated with Huang Tie, Yang Zhiyong and Liu Qi to compile the long narrative poem Ashima, which was passed down orally by Sani people, a branch of Yi people. The poem tells the story of Ashima's birth and growth, refusing the media and robbery, Ahei's sisters saving each other, duets, killing tigers and shooting arrows, Ashima's brothers and sisters returning home in triumph, and Ashima's final death turned into an echo, enthusiastically praising the wisdom, strength, diligence, courage, kindness and beauty of Sani people. The collated edition was published in Yunnan Daily with the beginning of 1954, which caused wide acclaim. The first draft of the long poem Wang Fuyun was written in 1954 and rewritten in Beijing in 1956. Poetry consists of nine parts: introduction, courtship, hunting, begging for arrows, singing, elopement, cold clothes, making enemies and melting clouds. It tells the tragic experience of an unknown hunter and Princess Nanzhao in pursuit of free love, and exposes Nanzhao.
1956, Gong Liu was transferred to the Cultural Department of the General Political Department of the People's Liberation Army in Beijing, and the southern Ye Di in the poet's hand was replaced by the northern suona. The difference between north and south made the poet harvest poems such as In the North (Writers Press, 1957), Crossing the Yellow River at Midnight, Camel Carrying Willow, Shanghai Night Song, etc. Facing the sandstorm in the north, the poet is obviously full of nostalgia for the green mountains and green waters in the south. "At night, I once sleepwalked in the south with a whole body of hard work/there was extra water, extra spring/there were huge and noisy green families/branches and leaves, weaving soft nets ..." ("Poplar-For the Southern Youth who participated in the Northwest Construction") Although this poem is for the Southern Youth who went to the northwest. Later, the poet died in the "anti-rightist" movement. After the comeback in the new era, Gong Liu's poems, such as "A long and deep underground fire rises from the ground, and the lava from the volcano rolls and flows. He wrote about the petitioner and his family, coming back from the execution ground and driving through Shanhaiguan. , or write about the sufferings of the people, or comment on merits and demerits, crying for land and tears of blood, left a deep impression on the poet. [9] The strange cloud rising from the southwest border "with the brilliance of the elusive rising sun" was boiled and squeezed by rough years, but it sprayed a fiery emotional fire. During this period, Execution Ground and Ah, Big Forest became the representative works of Gong Liu after his comeback. Passionate emotion, profound thinking, frank mind, gloomy tone, strong sense of hardship and speculative color constitute Gong Liu's style characteristics after his comeback.
Bai Hua is one of the few contemporary writers in China who can create a variety of literary genres. He tried almost all literary forms in his creation and made extraordinary achievements in poetry, novels, movies, drama, prose and so on. Birch, like Gong Liu, entered the poetry world with the founding of New China, playing a cheerful bamboo flute in the southwest frontier. In the 1950s, he published poetry anthologies Memory of Jinsha River (China Youth Publishing House, 1955), Song of Reba People (China Youth Publishing House, 1957), Long Poem and Eagle and Peacock (China Youth Publishing House, 1957). With pure and clear enthusiasm, the poet combined the struggle life with the frontier scenery with new beautiful brushstrokes, such as Song of Reba People, Little White House and Tender Tea in Spring! Heavy! Short poems with fresh styles, such as Dianchi Lake and Engagement, vividly describe the struggle and life of Tibetan, Yi and Dai people and border guards in Yunnan border areas. For the frontier people, the poet is full of blessings, wishing them a bright future in the new society, such as "Ten Girls in the Little White Family". For our soldiers, the poet is full of pride, and the most representative is light! Heavy! "Hidden in the green forest/Who can be lighter than the soldiers of the border guards/Fireflies will shine a star when they fly by/Butterflies will dance and raise fine pollen/We are active in the depths of the forest/Like a group of silent shadows/Facing the black storm/Who can be heavier than the soldiers of the border guards/Glaciers that have not solidified for thousands of years will crack in lightning/Snow-capped mountains that have solidified for thousands of years will shake in the storm. It is not difficult to distinguish between "soldier" and "firefly", "soldier" and "butterfly", but in clever contrast and excited exaggeration, the poet's praise for the border guards is beyond words. The two poles of "light" and "heavy" have been perfectly unified in our soldiers.
Eagle and Peacock are two long poems harvested by Betula platyphylla during her stay in Yunnan. The Eagle Group describes the growing process of a Tibetan cavalry guerrilla in the Yunnan-Kang border during the revolutionary struggle. It has a huge structure, complicated plots, vivid characters and legendary stories. But in dealing with the relationship between narrative and poetry, the author emphasizes narrative and ignores the essence of poetry, so it feels more like a novel than a poem. Peacock is the most representative narrative poem of birch. This poem is based on the love legend of Zhao Shutun and Nanmu Luna, the most influential Dai people. In this long poem with profound folk customs and exotic customs, the poetic style of birch is the greatest expression, and the whole work is colorful-green trees, golden lakes, white waves and sweet pineapples, which are beautiful. He combined the rap art of the Dai people with modern narrative techniques, further interpreted this love legend and profoundly praised the Dai people's pursuit and yearning for love and beauty.
Birch can be said to be an outstanding representative of the "Miserable Generation", suffering from hardships and setbacks because of his persistent pursuit of art and daring to speak out. In the 1958 anti-rightist movement, Baihua was classified as Rightist and was expelled from the army and the party membership. 1964 returned to the army and was exiled to Xinjiang for several years during the Cultural Revolution. The poet's situation is just like the hibernating birch in The Birch Collection-Preface. "I sowed gold leaves in the autumn wind yesterday/I was frozen in the frozen soil by the cold wave today." Bai Hua resumed his creation in 1977, and his later works sharply criticized social reality, history and culture, which caused great controversy. After the poet returned to the poetic world, he was mainly fascinated by the creation of sonnets. Facing the beauty and happiness that befell him, the poet who suffered from life is still full of doubts and sadness. His eyes always penetrate the existing existence and reach the future without it. It seems that the poet has a pair of psychic eyes, from birth to death, from love to injury. It seems that everything is an illusion of time. "When I smelled the fragrance of osmanthus, I suddenly realized that time had passed/the magnificent chorus of summer was not over yet/the whole space was full of autumn lament. Everything in the poet's eyes is full of sadness and nightmares. The violent rainstorm is the cry of the gods (in the thunderstorm), and the bright moon is the rebirth of pain (the moon). In that hopeless expectation and eternal loneliness, the poet lamented the short beauty and the hardships of life.
After 1986, the poet, who is nearly sixty years old, seems to be gradually getting rid of his cross and exploring life in the kingdom of poetry and cherishing the memory of ancient and modern times. The realm of poetry is gradually open and clear, and melancholy and sadness are swept away. It is worth mentioning that in 1998, the poet wrote a long poem Sunset in the Snowfield to commemorate the 50th anniversary of the Huaihai Campaign (Selected Works of Birch Forests-Essays on Poetry and Prose, Changjiang Literature and Art Publishing House, 1999). The poet re-examined the war from the perspective of a participant and witness in the war and mourned a sacrifice when he was only sixteen years old.
Bai Hua's poems are full of talent and strong feelings, such as spring returning to the earth and a hundred flowers blooming. But the disadvantage is that the branches and leaves are too complicated and impenetrable, and it is easy to cover the poetic god.
Third, the military poetry group of Kangzang Plateau
In addition to Gongliu and Baihua in Yunnan, Tibet's military poetry group is also unique. While liberating and building Tibet, they also opened up the virgin land of Tibetan new literature. Their poems mainly include two aspects: one is to praise the hard struggle and heroic optimism of the soldiers who built roads on the Kangzang Highway, and the other is to reflect the tragic fate of Tibetan serfs and the historical process of turning over and liberation. Representative figures are Gao Ping, Yang, Ba Sang, Zhou Liangpei, Gu Gong and others.
Gaoping 1949 joined the army, and 195 1 began to enter Tibet with the army. After the peaceful liberation of Tibet, he was transferred back to Chongqing and returned to Tibet soon. Participated in the construction of Kangzang Highway and Dangxiong Airport successively. He wrote a series of poems reflecting Tibetan life in Tibet, which were compiled as Mount Everest (Shanghai New Literature and Art Publishing House, 1955), Dawn in Lhasa (Chongqing People's Publishing House, 1957) and Snow. Mount Qomolangma is mainly a portrayal of life and a beautiful lyric of marching into Tibet, showing the magnificent scene of the people's army fighting against the sky and the touching scene of the Tibetan people welcoming it. The poem "Speaking of Queer Mountain/It has been difficult for birds to climb to the top since ancient times/snow all year round" records the historical events of developing Tibet at that time and praises the heroic spirit of the People's Liberation Army. This poem was first published in the May issue of Literature and Art of the People's Liberation Army 1952, which aroused strong social repercussions. Later, it was forwarded by many newspapers and was sung with music. This poem has obvious traces of soldiers' jingles. "A soldier's feelings and language become the soul of this song" [10]. Dawn in Lhasa (Chongqing People's Publishing House, 1957) is a sequel to Mount Everest, which further enriches the image of the pioneers of the People's Liberation Army in Tibet and further depicts the ever-changing changes in Tibet. Four poems about Lhasa in the poetry collection are particularly eye-catching: Dawn in Lhasa, Spring in Lhasa Street, A Window in Lhasa and A Window in Lhasa. Snow (Writers Publishing House, 1958) is a collection of narrative poems, including three novels: Lilac, Megson and Snow. "Lilac Flowers" warmly praises the * * * production party and the People's Liberation Army by writing the ancient love tragedy of Tibetan boy Zangbo on the west bank of Nujiang River and Tibetan girl Bazhen on the east bank of Nujiang River. Maisang tells the story of Maisang, a female migrant worker of Nima Sect, and Solangdoji, a male migrant worker of Dawa Sect, breaking through the narrow sectarian concept and finally getting married. ("Snow" is the most representative narrative poem of Gao Ping, which will be mentioned in the following chapters and omitted here. The poet's long collection of poems "Tibet Trilogy" (including Castle, Winter Thunder and Guo Wang) describes Tibet before liberation and Tibet after liberation respectively, and shows the great changes in Tibet in the past 50 years through the life and struggle of three generations of Tibetans.
Yang Yu 195 1 entered Tibet with the army, and was the first famous poetess of Han nationality to enter Tibet. She participated in the construction of Kangzang highway, counter-insurgency, reform, frontier production and construction and the self-defense counterattack on the Sino-Indian border. Yang's first poem is Why Don't We Sing (Cedar, Shanghai Literature and Art Publishing House, 1959). After this song was published, it was quickly composed by plateau musician Luo Pu and translated into Tibetan, which became people's favorite song at that time. The whole poem consists of four paragraphs, with distinct levels, in-depth step by step, poetic images and scene blending. This poem sings the voice of people in Xizang, praises the changes of roads and buildings in Tibet, shows the joyful atmosphere of people holding wine, singing and dancing, and represents the voice of the emancipated serfs. The marriage of Lhasa girl to a distant place is a touching story caused by the completion of the highway. The poet recalled the past with exquisite brushwork and exciting feelings. Through the drastic changes in traffic conditions in people in Xizang before and after the road construction, he sang a hymn to the happy life of the people in the new society: "It turns out that Lhasa girl married in a distant place/the road is long, and the mountains and waters in Xiu Yuan are far away/she crossed three snow-capped mountains/three rivers/walked for 33 days/and entered the groom's cashier's office. Now, "she went home along the highway/like a bird flying in the sky/the wind in the plateau echoed in her ears/she disappeared from the cashier's office in a blink of an eye/she crossed three snow-capped mountains in a short time/she crossed three rivers in a short time/the sun didn't set/she returned to her hometown." "In this new era, everything has become so beautiful, and every detail of life is flowing in the poet's pen. The girls heard the gunshots on the target, and some people said it was "as beautiful as hearing the accordion" ("before shooting"); On the day when Lhasa was opened to traffic, "Grandpa seemed to have returned to his golden age" (Golden Lhasa Valley); Because of tractors, horses also "have a pair of complaining eyes/complaints" (tractor drivers-Lhasa female tractor drivers and horses). All this is hard-won, and it is a bright road to happiness paved by PLA soldiers with their young lives. It was the "Heroes Group" on the Sichuan-Tibet line that created the "old Tibetan spirit" of the five-star (young snow-capped mountain). Yang loves Tibet and cherishes it even more. She has written for Tibet for decades, and it is Tibet, the second hometown, that gave birth to her poetic life.
Rao Jie Basang 195 1 joined the army and was the first famous young Tibetan poet after peaceful liberation. Tibetan folk songs in Kang and Tibet gave birth to Basang's poetic soul, with troops, grasslands, soldiers and Tibetan farmers and herdsmen as his main themes. He is good at capturing images, absorbing details, and creating unforgettable artistic conception with these images and details. The first novel, The Shepherd's Fantasy (Petals of Love, People's Literature Publishing House, 1984), is the most representative, national, artistic and socially influential one of Rao Jie Basang's early poems. He has been in the wind and rain of the grassland since he was a child, knowing well the joys and sorrows of herders, and naturally has the feelings of sharing the same fate with herders, so he is good at writing about the spiritual world of herders, especially their gorgeous fantasies. Before liberation, "his fantasy of white clouds/spent half his life/clouds turned into yaks/clouds that bowed their heads and drank water/clouds turned into crowded sheep/clouds turned into white horses that galloped with their hoofs ... the sky was the real pasture." After liberation, "he no longer fantasizes about the sky/he rides proudly on his horse/sings proudly to the sky/... how can you be the same?" The poet skillfully showed the great changes in Tibet by changing the attitude of poor herdsmen to the sky before and after liberation. Rao Jie Basang is good at short poems, and the main artistic features of his poems are concentration, purity and mellow. For example, Night shows soldiers on sentry duty. It says, "The night is spinning, spinning/like a water mill talking to a goldfish in the river/it whispers/this sound fills my magazine/makes me fall asleep sweetly/... The hypnotic sound fills my magazine/is awake. The poet Gao Ping said, "He is undoubtedly a new type of Reba (a wandering folk artist in the past), and he is also playing and singing, but his voice is more vigorous" [1 1], and his tone changed from sadness to joy: "Every bass is repeating/loving you, loving you: Tibet/every string is echoing/I love you. "Rao Jie Basang" is not only a southwest military poetry group, but also a representative minority singer in the whole contemporary military poetry group [12].
Unlike Gao Ping, Yang, Ba Sang and others who took Tibet as their theme, Gu Gong, Zhou Liangpei, Liang Shangquan and other poets fought in four directions with the army and stayed in Tibet for a short time, with a broader theme, but their poetry content and emotional tone were synchronized with the times at that time, and they were all members of the chorus of the times. As Gu Gong said: "A brilliant victory is followed by a brilliant victory; A festive festival, followed by a more festive festival ... This is the theme of our life, and this is the theme of our poetry. " [13] In the 1950s, Gu Gong published in the foothills of the Himalayas (China Youth Publishing House, 1955), which was a mature season (Writers Publishing House, 1957) and sent far away (Shanghai Literature and Art Publishing House, 1958). As a reporter of the People's Liberation Army Daily, Gu Gong has been to many places, leaving his footprints on both sides of the Yellow River, the Kangzang Plateau and the northern and southern Tianshan Mountains, as well as his passionate ode. In many of Gu Gong's poems, there is a typical "contrasting" space-time structure. I stand on the iron chain bridge is completely composed of "then" and "now". A series of contrasting arrangements, such as the water of the Yangtze River, show that the construction of the motherland is changing with each passing day. In the years in the southwest, Zhou Liangpei also harvested long poems such as Maple Leaf (Writers Publishing House, 1957), Wandering Sorrow and Hunting Song. "Maple Leaf Collection" is divided into three series, including poems written by poets in Kangzang Plateau, other minority areas, marching routes and frontier posts. The new Lhasa is in full swing, the machines are roaring, it is hectic and full of vitality, and everything is like the rising sun. The red Lhasa vividly shows the reborn Lhasa city, which "exudes the intoxicating fragrance of spring" in the rotation of "Special Sun" (produced by China * * *). Liang Shangquan has written many poems, such as Loud Plateau, Clouds in Yunnan, Land of Flowers and so on. He and the border guards traveled all over the southwest frontier, witnessed the new life of the people in the frontier and felt the patriotic enthusiasm of the border guards. Therefore, in his works, there are both the battle songs of the border guards and the songs of Miao girls.
Under the blue sky of new China, when they breathe fresh and sweet air, the smell of smoke and blood gas just dispersed will float from the depths of memory and touch their noses. Looking back on the past, thinking hard and thinking sweet, this is also the same feeling of almost all people who crossed two eras at that time. Facing the great changes of social times and people's destiny before and after liberation, almost all the poets in this military poetry group used the distinctive artistic technique of "contrast" to construct their own poetry system in the vertical comparison between ancient and modern times, which gave poetry a stronger impact.
In the early 1950s, the collection, arrangement and publication of folk lyric poems and narrative poems of ethnic minorities became a small climax, which actually became an important part of contemporary poetry creation art for reference. Southwest military poets also benefited from local folk themes or expressions to varying degrees. This literary phenomenon lasted until the early 1960 s, and then the southwest military poetry group gradually disintegrated.