Under the influence of the new trend of thought, Gao Xu doubted the ethics of Confucianism, and once wrote a poem "Unscrupulous", advocating "I said that I am a writer and I must never be filial to my ancestors; If I say you are a son, don't imitate your father. " After studying in Japan, you have systematically accepted the western natural human rights, democracy, freedom and equality. The growing division of China by the foreign powers aroused Gao Xu's indignation: "Looking back at China, sighing, drawing swords and praying for grief and indignation" ("Zudong, in February, I heard that there was another prison in middle school. Wine is hot and ears are hot, which is another song, and it also changes the voice of the sign. 1909 After An Zhonggen assassinated Ito Bowen, Gao Xu wrote a poem to express his happiness: "A meal according to Jing Ke's wishes can stop a hundred thousand teachers with one sword. "("Han people who are sensitive to An Zhonggen's thoughts have no poetry "), and their thoughts are more radical.
After the Revolution of 1911, Gao Xu's thoughts became more complicated. He reflected on his early radical thoughts: "A song with two lines of tears may awaken the people of China?" He has a comprehensive view of various literary schools, and once sang with Yi Shunding, a gorgeous poet, praising him for "being fond of beauty and entertaining the old" and "being romantic and vulgar". He also made friends with Zheng, who is also a poet of Guangti, and called him "the voice of bitterness". He wrote many poems to express his personal frustration, such as: "Why can't I be alone among the guests?" And "I am disappointed that Sue fled to Lingnan."
Gao Xu likes to write poems in the style of songs, and often uses sentences of different lengths. Influenced by Gong Zizhen, Liang Qichao, Huang Zunxian and others, he is bold and unrestrained, but he is often criticized for being too vulgar. Gao Xu was more influenced by the western bourgeois democratic culture. He opposed the tendency of "focusing on the preservation of Chinese studies" and thought that "if the country moves with the times, then learning should also change with the times". For traditional culture, it advocates "taking its essence and discarding its dross" (introduction to academic evolution). However, he occasionally wavered and generally advocated "preserving Chinese studies." Reflected in the creative thinking, it opposes "pseudo-Korea and pseudo-Du" and plagiarizes and imitates. It is believed that "the world is changing, and the literary and poetic circles should create a new world." But he said: "Poetry with new artistic conception, new ideals and new feelings will be more interesting if it does not adhere to the quintessence of the country." Gao Xu's poems advocate "advocating human rights, rejecting autocracy, arousing people's independent thoughts and enhancing people's racial concepts" (ibid.). Song of national subjugation accuses imperialism of plundering China's road rights and calls on the people to fight with one heart and one mind: "If our people unite and fight with one heart and one mind, it will be difficult to be brave and powerful." Song of the Tide accused the Qing government of betraying national sovereignty and called on the people to rise up and overthrow it. His poems are often permeated with a heroic spirit willing to sacrifice for his country. For example, "Eat a knife after a big event, pack up and be a good person" ("Climbing the Acropolis"); "The light of dropping bombs looks at heaven, and the head flies red" ("Looking at Jie"). Gao Xu is good at singing. Its advantages are jumping wildly and steaming, showing the characteristics of revolutionary poetry; Its disadvantages are rough surface and insufficient tempering. After the revolution of 1911, there was no way to go, and my thoughts were depressed and confused, and my poetic style also changed. The omnipotent spirit is less and less, while the lingering sadness is more and more. Gao Xu was influenced by the "poetic revolution" in his early years. Several of his poems combine the stories of Confucianism, Buddhism and Taoism with modern scientific knowledge, following the path of Tan Sitong and Xia Cengyou. Some of his other poems, modeled after Huang Zunxian's "Military Songs" and other new styles, are more popular and can be sung with music, such as "Women Singing", "Love the Motherland", "National Anthem of the Army" and "Song of Recovery".
Gao Xu's words are few, but his skill is profound. Xia Yean once commented that he was "as eager as he wished". Gao Xu praised Empress Dowager Cixi in the Southern Tang Dynasty, praised him in the Song Dynasty, and praised him in Zhou and Wu Dynasties. Therefore, it can learn from the strengths of many families and express it in a personal style. In his early years, he wrote poems as gifts, such as Lin Jiangxian's Feeling for the Guest, Bodhisattva's Feeling for the Guest, Huanxi Shasi's Thinking of the Motherland, Man Jianghong's Reading Yue Wumu's Original Rhyme in Tokyo Apartment, and Hu Zhongtian's Inscription on Gong Man (Revenge History). All the words included in "A Journey to Wumeng" express the thoughts of the old country in the name of nostalgia. 19 1 1 Guangzhou March 29th uprising had a strong influence on the poet. Two poems, Death of Hua Lian, Feeling of Guangdong Merit on April 1st, and Viewing the Society, are both praising the heroic achievements of revolutionary martyrs. Gao Xu also wrote a poem "A Floating Life at Sea", which was written in memory of Li Houzhu, but it conveyed his dissatisfaction and indignation at Yuan Shikai's attempt to restore monarchy.
The number of articles written by Gao Xu is small, and his achievements are not as good as poetry. Among them, Hanging Zou Wenrong, written in the early stage, combines deep mourning and strong criticism in one article, and makes an essay forceful and infectious with slightly oblique sentences. It is also worth mentioning the Introduction to Academic Evolution, which discusses the development of philosophical thoughts in past dynasties and cultural exchanges between China and foreign countries. The article expresses incisive views on the absorption and integration of Chinese and foreign cultures from a dialectical point of view, which still looks valuable today. The essays written in the middle period are mainly biographies of rural sages. During the Revolution of 1911, Gao Xu was in contact with various newspapers and periodicals in Shanghai, during which he published a lot of short comments on current affairs and discussed current politics, which clearly showed Gao Xu's views on the current situation. In short, although Gao Xu's articles are not as famous as poems, he rarely writes some romantic articles that don't give up the overall situation. For example, Yuan Shikai wrote two articles when he was emperor: preface to the rhyme of Jifu ancestral temple and preface to the rhyme of peony in Xiaochong temple, which were originally the preface to the gathering of Nanshe members in Beijing, but two of them were very eye-catching. The last article said: I hate the long night and would rather not smell it; Taoyuan is misty, and Song Yu has not yet called back his soul; Later, he said: it hurts the state and hurts the beauty. At that time, I had money and wanted to be king. At leisure on weekdays, come and carry wine with me. Everybody can see at a glance that NingQi and Song Yu, for a moment, all refer to Yuan. Some of them really came out.
Gao Xu lost too many letters, and now there are only a dozen. Most of these letters are academic exchanges with friends, among which the Book of Confucius with Yao E is the most important. Before the May 4th New Culture Movement, Gao Xu had clearly put forward the scientific conclusion that the essence of Confucianism was to serve the feudal ruling class, which was obviously of positive significance. As for some letters about "Poetry of Changing Elegant Buildings in Thirty Years", it is of course of great benefit to study Gao Xu's literary thought and creation.
In addition to poems, articles and letters, Gao Xu also wrote a literary criticism work of more than 60,000 words, namely "Zhu Lu Shi Hua Infinite", which was published in three phases. This poem concentrates on Gao Xu's literary thoughts, reflecting his understanding of the social role of literature, especially poetry, his attitude towards ancient cultural heritage, and his analysis and evaluation of ancient writers' works. In addition, there are more than a dozen poems exchanged by friends such as Liu Yazi, Chen, Su, Ning Taiyi, Cai Zhefu and Ma, which provide rich materials for studying the activities of the literary world at that time.
Although Gao Xu wrote a lot in his life, there was no album before his death. Fang was ordered to compile poems for his younger brother Gao E. 10 years later, Gao Jicai had to merge with. This is a collection of Mei Tian's posthumous works, which was very popular before liberation. *** 16. Among them, poetry 10 volume, text 6 volume, others such as articles, letters, poems, etc. are absent. However, before the compilation, the poems were deleted, and some poems were omitted during the compilation, so there were many lost poems and words.