On the one hand, this poem shows the magnificent scenery of nature by truly reflecting the natural landscape. The natural image in poetry has extraordinary scale, area, volume and strength, which arouses readers' amazement and admiration. A fierce passion purifies the soul, thus making people have some lofty and great association with social life from this natural image. On the other hand, more importantly, through the poet's artistic creation with all his life and personality, natural images permeate the poet's subjective feelings, and natural phenomena are integrated with the poet's subject, becoming a living existence with life and feelings. This strong and rich typical feeling in a specific environment symbolizes certain social content, thus achieving a clear reflection of social reality and the spirit of the times, showing a positive sublime and a magnificent spirit full of optimism and enterprising spirit.
The following is the appreciation:
In the whole poem, the poet imagines himself as a giant standing on the edge of the earth. His eyes are all over the vast world, and he sends out a warm call. With the focus of "standing on the edge of the earth", the poet connected the Arctic Ocean in the Arctic with the Pacific Ocean in the hinterland of the earth with his far-sighted vision, and connected countless white clouds in the Arctic Ocean with the vast waves of the Wang Yang Sea in the Pacific Ocean. Therefore, the images of natural objects show their grandeur, magnificence and strength with the area, quantity and strength beyond people's usual sight. More importantly, through the description of nature, we see the tall image of the lyric hero, peep into his full heart and feel his boiling passion. The unique emotion and psychology shown in the lyric image reflect the same characteristics as the revolutionary intellectual youth awakened by the anger of the May 4th Movement.
Influenced by pantheism, poetry draws poetry from the ever-changing forces of all things in nature, which inevitably includes the praise of spontaneous forces in the universe, but its core image is still the embodiment of the spirit of Stourm and Delong during the May 4th Movement. It can be seen from the collection Goddess that before the May 4th Movement, Guo Moruo imagined Baiyun as "Ling Bing to quench his thirst" in his poem "New Moon and Baiyun", hoping to use it to solve his "burning anxiety". 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. At this time, less than a year, the same white clouds are angry in the clear sky, and the same ocean has infinite power. This contrast shows that it was the May 4th Revolution that inspired the poet and the spirit of the times that greatly changed the natural image in his works. Grasping the poet's passion rooted in the life of the times and the soil of reality, the following two poems will not only be understood as a compliment to abstract power:
Ah ah! Hong Tao rolled in front of my eyes!
Ah ah! Constantly destroying, constantly creating and constantly working hard!
The scope of expression has spread from the immediate scene, and it has indeed risen to a certain philosophical generalization. Grand realm, majestic momentum, the poet suddenly wants to leave from the specific scene, think of the earth, think of the sun, the moon and the stars, think of the endless future, think of the endless universe without beginning and end, and think of the eternal and immortal process. But this expression of the dialectical development process of life, after all, reflects the poet's thinking about history, times and reality, and eulogizes creativity. Guo Moruo was not the only advanced intellectual during the May 4th Movement. For example, Li Dazhao once wrote in the article "Youth" that people should "take the cause of the universe as their own career and the youth of the universe as their own youth. The universe is endless, that is, youth is endless, that is, self is endless. This spirit, that is, the spirit of life and death, the spirit of re-creation after returning to heaven. This kind of boldness of vision is generous and tragic, and it is also the boldness of vision that rises from the mountains. ..... Only those who truly have this spirit and charm can enjoy the endless youth of the universe forever. " (Selected Works of Li Dazhao)
The following is a eulogy of power to eulogize "painting, dancing, music, poetry and rhythm of power". This description still does not leave the specific scenery of the Pacific Ocean "rolling red waves" in front of the poet. "Powerful painting and dancing" is the form of Hong Tao, "Powerful music and poetry" is the voice of Hong Tao, and "Powerful rhythm" is the rhythm and temperament of Hong Tao. In a word, this is a beautification of "power" and gives it a universal artistic beauty image; At the same time, it is also a tribute to the artistic beauty of strength and the sublime beauty full of efforts. We know that Guo Moruo's own poems, whether from the spiritual content of resisting destruction and free creation, or from the specially developed imagination and passion and the corresponding colorful romantic techniques, or from his eclecticism, give full play to artistic originality and realize the great liberation of poetic style, are all bold and fruitful practices of this powerful art. From here, we can also see Guo Moruo's confidence and affirmation of the lofty and beautiful style of his poems.
This poem is ambitious and open-minded, but it is an impromptu poem that expresses feelings on the spot and conveys feelings with things, that is, an impromptu poem that Goethe called "following the trend" and "coming from real life". It starts with the great power of the Arctic Ocean and the Pacific Ocean and praises the power of continuous destruction and creation. The natural expression of this emotion is characterized by the fact that this poem rarely uses declarative sentences, but mostly exclamations. The declarative sentence is also a sentence similar to "the infinite Pacific Ocean lifts all its strength to push down the earth". Exclamation sentences are mostly coordinate phrases, which are short and powerful. Although the whole poem has different lines, lines and rhymes, there are rules in chaos and inherent rhythms and rhythms. This poem was written by Guo Moruo in the excitement of "standing on the edge of the earth" and "beating his wrist with blood", so it has the "rhythm of the waves" As the author said, if the clock is raised first and then suppressed, "the top is strong when it is first buckled, and the weak reverberation fades away", then the sound of the waves is suppressed first and then raised. "At first, it was gradually rolled up from the heart of the sea, rolling faster and faster, rolling to the shore, and smashed into pieces with a bang." (on rhythm) This is the rhythm of this poem. The author also calls this "encouraging sound" when listening to the military song and bugle of the small drum. All these show that the form of this poem has also adapted to the characteristics of lofty beauty