The difference between Guo Xiaochuan s poetry and He Jingzhi s poetry

Poets surnamed Guo and poets surnamed He.

1) Although He Jingzhi and Guo Xiaochuan are both good at expressing themes that reflect the mainstream of life of the times, He Jingzhi focuses more on the positive side of the socks to express the major events and important figures in the political and social life of our time, such as his political lyrical poems "Singing Loudly" and "The Song of Lei Feng".

2) Guo Xiaochuan often focuses on the big picture and writes from the small, and often uses a shining wave in the long river of social life to express the mighty momentum of the progress of the times. Written in 1962 during the difficult period of socialist economic construction, "Toasting Song" depicts a scene of cultivating and exciting the masses at the toasting party of workers in forest areas, and expresses a song of the times that is high-spirited and energetic. Another example is his "Sugarcane Grove and a Green Yarn Tent", which are all poetic and image with the characteristics of the times, and created "the strongest sound and the most beautiful sound of our time".

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1. He Jingzhi combined Mayakovsky's "staircase" rhythm with the harmonious rhythm of duality and comparison in Chinese classical poetry, and changed Mayakovsky's multi-storey staircase to basically two layers of corresponding stairs, so that there is not only the rhythmic change of jagged ups and downs, but also the symmetrical solemnity in our national poetic tradition. Such as his "Sing Loudly".

He Jingzhi also developed the northern Shaanxi folk song Xintianyou into a two-line poem with a strong national style, such as "Back to Yan'an" and "Guilin Landscape Song". This kind of two-line and one-stanza, well-proportioned, side-by-side poetry, lyrical rhythm is soothing, line to line, stanza to stanza poetic jumps and emotional ups and downs, leaving readers with room for imagination to gallop and emotional maneuver.

He Jingzhi also used classical poetry.

Three, five, and seven characters created a new semi-rhythmic style of singing, such as his "Sanmenxia Song".

2. Guo Xiaochuan also inherited the traditional Fu of Fu, Bi and Xing. He used even sentences, eloquent words, and comparisons to construct a semi-rhythmic vernacular poetry style, that is, long sentences and long and short sentences with a relatively strict pattern, roughly symmetrical chapters, and a sonorous rhyme that flowed naturally. The long sentence style is the so-called "new word endowment style", such as poems such as "Xiamen Style"; The long and short sentences are the so-called "semi-loose free forms", such as the "Toast Song" and other poems.

Third, the difference between them is also obvious. In dealing with the relationship between the individual and the group, the individual and history, and the perceptual individual and the essence of history, He Jingzhi never (or rarely) expresses the rifts and conflicts between them. In his poems, the "lyrical subject" is fully "essentialized", and the individual with limited life is transformed into an infinite existence with full self-confidence because it is integrated into the whole, because of the grasp of the "essence of history".

In Guo Xiaochuan's works that deserve attention, the individual realizes the process of "essentialization".