Du Fu, a great realist poet, praised Li Bai for "putting pen to paper and making poetry cry". Is it extremely exaggerated? One of the artistic features of his poems is that he is good at using strong artistic contrast to make a typical summary of real life. For example, "Zhumen stinks of wine and meat, and there are frozen bones on the road." (From Beijing to Fengxian, chanting 500 words) Just two sentences condensed the huge social content at that time-sharp class opposition. In particular, those famous poems and sentences that describe the great suffering brought by war and extortion by the ruling class give full play to the effect of artistic exaggeration and are fascinating to read. For example:
The army is generally recruiting troops, and the war has permeated Lu' an. The remains of a tree and a blade of grass, a blade of grass and a blade of grass, are all red on the beach.
Why is hometown a paradise? Ann dares to linger! Resolutely abandon the hut and go to the front, the sky is really broken!
("Farewell the old and welcome the new")
Stark sounded the fifth watch, drums and horns rang, and stars and Tianhe danced on three mountains.
I heard the wailing of women in the distance. After the battle, they fished for firewood one by one.
(Pavilion Night)
War horses are not as good as ploughing horses, and the war has left only 100 households in the original thousand households.
Mourn the widow's death and wail where Yuan Qiu Village is!
(Bai Di)
It is said that men and women are everywhere, and cutting kindness and forbearance is also a matter of renting a house.
(Sui Yanxing)
Du Fu is also good at using artistic exaggeration to blend feelings into the scenery. For example, in "Spring Hope", "Where petals flow like tears, lonely birds sing a sad song". When I was sad, the flowers shed tears and the birds were shocked! Another example is "It rains forty times in first frost, and the color is two thousand feet" in Cooper's Travels. How can there be such a thick and high cypress tree in the world! He used this exaggeration to describe the ancient cypress in Wuhou Temple, aiming at symbolizing the greatness of Zhuge Liang's personality and expressing the poet's reverence. He is also good at using artistic exaggeration to profoundly reveal real life, express the pursuit of beautiful ideals, and combine realism with romanticism. For example, there are a few words at the end of the song "The Hut is Broken by the Autumn Wind": "There are thousands of spacious buildings in Ande, and the poor people in the world are happy, and the wind and rain will not move." Oh! Suddenly seeing this house in front of me, I will freeze to death alone! With a strange fantasy, the poet admits that he would rather "freeze to death" than get the warmth of the poor people on earth.
Chairman Mao's poems inherited and developed the excellent artistic heritage of China's classical poems, reflected the magnificent revolutionary struggle of China people, expressed revolutionary pride and formed a unique style combining revolutionary realism with revolutionary romanticism. In many of his works, he made full use of romantic artistic exaggeration with rich imagination and novel ideas. Here, for example, he wrote "Sixteen Characters and Three Orders" on the way to the Long March: On the mountain, the horse galloped without getting off the saddle. Looking back, I was only three feet away from the sky.
In the annotated folk song, the author said, "There is Skull Mountain on the top and Babaoshan on the bottom, three feet and three feet from the sky. People have to bow their heads, and horses have to dismount. " And the word just says: "The horse is running, and the whip is not under the saddle." This is similar to Li Bai's artistic exaggeration in Popular in the North, that is, "The Yellow River can irrigate scholars, and the North Wind hates rain and snow". Chairman Mao's "No Saddle" is set off by folk songs, while Li Bai's "The Yellow River holds the soil" is set off by allusions. Biography of Zhu Fu in the History of the Later Han Dynasty: "People who are still on the riverside hold the soil and plug Jin Meng, but they often see it without measuring themselves." For the sake of extreme exaggeration, what allusions, what folk songs, and what is justified, I just sing against you! "Looking back, I am three feet away from the sky." This not only describes the height of the mountain, but also sets off the heroic image of the Red Army flying over the mountain and expresses its joy and pride after overcoming difficulties.
Mountains, rivers and seas, huge waves. Rushing, ten thousand horses are still fighting.
Here, the artistic exaggeration of turning static into dynamic brings the ups and downs of Qian Shan Wanling to life. The magnificent scene of "crossing the river" symbolizes the Red Army's galloping and heroic fighting, and the scene of "Wan Ma Benteng" shows the Red Army's vigorous fighting spirit and revolutionary optimism.
Mountain, pierce the sky, not residual. Heaven wants to fall, follow it.
Strange fantasies are used here. In real life, there is no great sword or "stabbing" sword! It was with this surreal artistic exaggeration that the poet praised the overwhelming production party of China and the Red Army of workers and peasants, and played the role of Optimus Prime in the China Revolution.