He Jingzhi also developed the northern Shaanxi folk song "Journey to Heaven" into two lines of poems with strong national style, such as "Back to Yan 'an" and "Guilin Landscape Song". This symmetrical and juxtaposed poetic style has a slow and orderly lyric rhythm, and the poetic thoughts jump from line to line, from section to section, and the emotional ups and downs, leaving readers room for imagination and emotional gyration.
He Jingzhi also used the three, five and seven words of classical poetry to create a new semi-metrical singing style, such as his Song of Sanmenxia.
2. Guo Xiaochuan also inherited the traditional Fu style and Bi Xing. He laid out even sentences, antithesis and parallelism, and constructed a semi-metrical vernacular poem style, that is, a long sentence style and a short sentence style with relatively rigorous mode and roughly symmetrical text, which flowed naturally and sonorous in rhyme. The long sentence style is the so-called "new ci-fu style", such as poetry and Xiamen charm; Long and short sentences are the so-called "semi-prose free style", such as poems such as toast songs.
Third, the difference between the two is also obvious. He Jingzhi has never (or rarely) shown the cracks and conflicts between individuals and groups, individuals and history, and emotional individuals and historical essence. In his poems, "lyric subject" has been fully "essentialized", and individuals with limited life have been transformed into infinite existence full of confidence by integrating into the whole and grasping the "historical essence". However, in Guo Xiaochuan's noteworthy works, the individual realized the process of "essentialization"