After the outbreak of War of Resistance against Japanese Aggression, Guo Moruo left his wife and sneaked back to the motherland to prepare the Wang Jiu Daily, and served as the director of the Third Hall of the Political Department of the Military Commission of the National Government and the director of the Cultural Work Committee, responsible for the cultural propaganda of the Anti-Japanese War. In the meantime, he created six historical plays, such as Flowers of Tang Di and Qu Yuan, which fully showed the romantic features, which was another great achievement of his creation. These dramas use the past as a metaphor for the present, closely matching the real struggle. 1944 wrote "Three Centennial Festival of Shen Jia", which summarized the historical experience and lessons of Li Zicheng peasant uprising. After the victory of the Anti-Japanese War, he persisted in opposing dictatorship and civil war under the condition that his life was constantly threatened. The struggle for democracy and freedom. After the founding of People's Republic of China (PRC), Guo Moruo successively served as Vice Premier of the State Council, President of China Academy of Sciences, President of China University of Science and Technology, Director of Philosophy and Social Sciences Department of China Academy of Sciences, and Vice Chairman of the National People's Congress Standing Committee (NPCSC), mainly engaged in political and social activities and leadership of cultural organizations, as well as world peace, foreign friendship and exchanges. At the same time, he continued his literary and artistic creation, including historical drama Cai Wenji and Wu Zetian, poetry anthology Ode to Xinhua, Hundred Flowers Blossom, Camel Collection, notes on literary papers, Li Bai and Du Fu, etc. Guo Moruo wrote poems, essays, novels, historical plays, biographies, reviews and many other works all his life, and made great contributions to China's scientific and cultural undertakings in many aspects. He is another glorious banner on the cultural front of China after Lu Xun. The collection of works is 17-volume Collected Works of Mo Ruo (1957 ~ 1963). The newly compiled Complete Works of Guo Moruo is divided into three parts: literature (20 volumes), history and archaeology, and has been published since 1982. Many works have been translated into Japanese, Russian, English, German, Italian, French and other languages.
Catalogue of works
Goddess (poetry anthology) 192 1, Taitung
Collected Works of San Ye (Prose Collection), co-authored by Zong Baihua and Tian Han, 1920, Yadong.
Starry sky (poetry anthology) 1923, Taitung.
Nie Ying (handwriting) Guanghua 1925
Collection of literary and artistic (prose) works 1925, Guanghua.
Tower (Collection of Novels and Dramas) 1926, Business
Fallen leaves (novel and drama collection) 1929, Creation Society.
Three rebellious women (drama series) 1926, Guanghua
History of Western Art (Theory) 1926, Business.
Olive (collection of novels and essays) 1926, Creation Society.
Bottle (poetry anthology) 1927, Creation Society.
Qianmao (poetry anthology) 1928, Creation Society.
Restoration (poetry anthology) 1928, Creation Society.
Under the horizon (collection of novels and essays) 1928, Creation Society.
My childhood (autobiography) 1929, Guanghua
Wandering Trilogy (Collection of Novels and Dramas) 1929, Xinxing Bookstore.
Miscellaneous notes in the mountains and others (novel and drama) 1929, Xinxing Bookstore.
Black Cat and Tower (Collection of Novels and Proses) 193 1, Xiandao Bookstore.
Regret (Collection of Novels and Dramas) 1930, Guanghua
Black Cat and Lamb (Short Story) 393 1, Guoguang
A trip to Tianjin (essays) 193 1, Aili Bookstore.
Dancing on the table (novels and essays) 193 1, Xiandao Bookstore.
Sequel to Essays on Literature and Art 193 1, Guanghua
Ten Years of Creation (Memoirs) 1932, Modern
Letters from Moro 1933 in Taitung
Di Chin (Historical Novel) 1936, Parr Bookstore.
The Road to the Northern Expedition (prose) lQ37, Chaofeng Publishing House.
Willing to be cannon fodder (drama) 1938. Beixin
The voice of war (poetry anthology) 1938, Warrior Press.
Ten Years of Creation (Memoirs) 1938, Beixin
Feather Collection (Essays and Essays) of Yu Xia Bookstore 194 1.
Qu Yuan (Script) 1942, Chongqing Linwen Publishing House.
Park Jianji (Essay) 1942, Chongqing Literature Bookstore.
Tang Di's Flowers (Script) 1942, Writers Bookstore.
Khufu (script) 1942, Qunyi
Qu Yuan Research (Paper) 1943, Qunyi
Ancient and modern collections (essays) 1943, Oriental Bookstore.
Peacock gall (script) 1943. Qunyi
Southern crown grass (script) 1944, Qunyi
Bronze Age (History) 1945, Sandwich Publishing House.
Lin Shu's Pre-Qin Theory (Paper) 1945, Fujian Yongan Southeast Publishing House.
Ten critical books (on history) 1945, Qunyi
Bo (Prose Collection) 1945, Qunyi
Travel Notes of the Soviet Union (Prose Collection) 1946, Shanghai Chinese and Foreign Press; Renamed Soviet Union for 50 Days, 1949, Dalian Xinhua Bookstore.
Come back (prose collection) 1946, Beixin
Qunyi Building (Script) 1946
Impression of Nanjing (Prose Collection) 1946, Qunyi
Youth (autobiography) 1947, Haiyan
Spring and Autumn Revolution (autobiography) 1947, Haiyan
Appendicitis (essay) 1947, Qunyi
Pu Jian (essays) 1947, Haiyan people.
Historical figures (on history) 1947, sea salt
Boiling Soup Collection (Prose and Essay) 1947, Dafu Publishing House.
Tiandi Huang Xuan (Prose and Essay) 1947, Dafu Publishing House.
Underground laughter (collection of novels) 1947, Haiyan.
The Road to Creation (Theory) 1947, Wenguang.
Bao Jian Ji (collection of novels and essays) 1948, Haiyan
Ji Ji Ji Ji (poetry anthology) 1948, Qunyi
Collection after the rain (poetry anthology) 195 1, Wu.
Haitao (Prose Collection) 195 1, New Literature and Art.
Slavery era (historical review) 1952, new literature and art.
Mo Ruo's Collected Works (Volume1-17)1957-1993, Humanities.
Rooster Collection (Poetry Collection) 1959, Beijing.
Hong Boqu (autobiography) 1959, Hundred Flowers
Cai Wenji (handwriting) 1959, cultural relic.
Tide Collection (Poetry Collection) 1959, writer.
Camel Collection (Poetry Collection) 1959, Humanities
The Complete Works of Mo Ruo (Literature L-5) 1982- 1987, Bibliography of Humanities Translation:
Germ Dream Lake written by Stummer in Germany (novel), translated by Qian, 192 1, told.
Goethe's Young Werther (Novel), 1922, Taitung.
Social Organization and Social Revolution (paper) by Kawakami, Japan, 1924, Business.
Selected poems of Shelley (anthology of poems) Shelley, England, 1926, Taitung.
Goethe's Faust (Poetry), Germany, 1928, Creation Society.
Mo Ruo's translation of Indian Cang Li Da Ruo, 1928, Creation Society.
The King of Carboniferous Period (novel) is written by Sinclair, USA, 1928, Shanghai Lequn Bookstore.
Karl Marx's Critique of Political Economy (Theory), Germany, 192 1, China.
War and Peace (novel) Russian column Tolstoy, 1935, Guangming Bookstore.
The Truth of Art (Theory) by Karl Marx, Germany, 1947, Qunyi.
Translation bibliography:
Germ Dream Lake written by Stummer in Germany (novel), translated by Qian, 192 1, told.
Goethe's Young Werther (Novel), 1922, Taitung.
Social Organization and Social Revolution (paper) by Kawakami, Japan, 1924, Business.
Selected poems of Shelley (anthology of poems) Shelley, England, 1926, Taitung.
Goethe's Faust (Poetry), Germany, 1928, Creation Society.
Mo Ruo's translation of Indian Cang Li Da Ruo, 1928, Creation Society.
The King of Carboniferous Period (novel) is written by Sinclair, USA, 1928, Shanghai Lequn Bookstore.
Karl Marx's Critique of Political Economy (Theory), Germany, 192 1, China.
War and Peace (novel) Russian column Tolstoy, 1935, Guangming Bookstore.
The Truth of Art (Theory) by Karl Marx, Germany, 1947, Qunyi.
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works appreciation
Introduction to Shelley's poetry
Guo Moruo
Shelley is one of my favorite poets. He is the darling of nature, a believer of pantheism and an athlete of revolutionary thought. His poetry is his life. His life is a wonderful poem. He is a bit like Jia Yi in China. But Jia Sheng's talent has not reached his level. This talented poet also passed away, and he impressed us as a great young man forever.
Shelley's poems are like a piano, with big buttons and small buttons. He is sometimes charming and sometimes suddenly empty; Sometimes he is quiet and quiet, crying like complaining. He can't just blow a monotonous straw.
He is a great unfinished product. The universe is always just a great unfinished product. The ancients compared poetry to style. There are several kinds of winds, such as uprooting trees and toppling houses (Orkan), scaring big trees (Sturm), scaring small trees (Stark), shaking big branches (Frish), shaking small branches (Maessig), mowing grass and moving leaves (Schwach) and standing still. This is a variety of poetic styles when revealing the will in the big universe. Shelley's poetic style is also so changeable. The wind doesn't come from outside. Poetry is not from the heart. Poetry that is not revealed in the heart is not a real poem. Shelley is a real poet and a real poet.
The purpose of translating Shelley's poems is to make me Shelley, not myself. Poetry translation is neither parrot-like nor monkey.
When a man and a woman get married, they must first have love, first have * * *, and first have inner resonance. I love Shelley. I can feel his heart. I can talk to him. I married him. -He and I are one. His poems are just like mine. I translated his poems as if I had written them myself.
Modern poets Baudelaire and Vihelen write prose poems. They both write very formal sonnets and Alexandrian poems. Whether written in classical Chinese or vernacular Chinese, it is simply poetry. Who says a given poem is a rotten skeleton? Who says free verse is a symbol of ghost painting peaches? The form of poetry is a problem of Sain, not Soren. A poet has absolute freedom, but he can do whatever he wants. Almost all his poems are archaic, so they don't have to be archaic. His poems break the established laws of everything, and he doesn't have to learn fashion. Today, a thousand years later, it will become an ancient song.
Body discovered thousands of years ago was also fashionable at that time. Aspects are inseparable-the fundamental spirit of poetic monism is eternal.
1stormy night on February 4th
From1February, 1923, the first volume of Creation Quarterly.
Dream and Life
Last/better/previous/last name
The moonlight shone on the garden of Zhaofeng Park last night. All the trees are praising their leisure. White butterflies and yellow butterflies are dancing among the flowers of musk beans, and the iris of musk beans is their sister. You see them fly away and kiss the flowers on the lips, as if urging them to say, "sisters, fly, fly, don't stand on the branches, let's fly together." The sunshine is so warm and the air is so fragrant. "
But the flowers just shook their heads on the branches.
Under this background, I sat at the foot of a mulberry tree and read Tagore's English poems.
I read one of his poems, saying that he walked into the garden in the morning and a blind girl gave him a wreath.
I realized that this is a symbol, and this blind girl is the three rooms of nature.
As soon as I realized this, the butterfly in front of me turned into a dancing girl, vying to make a garland of musk peas and throw it at me.
I was buried in the grave of the wreath. ——
This is just a broken dream, but what a beautiful dream!
under
I got up early this morning and was going to take a walk in the square in front of Jing 'an Temple.
I was in Dongzong Lane, Minhou, Li Nan, facing the gate of Fuxi Road, but I saw a begging woman. She was only wearing a tattered light coat, and a few holes in her back showed clouds of purple meat. She bent her head under the wall and rolled a child's cotton-padded coat and an adult's thin coat into a long belt.
A four-year-old daughter sat next to her, teasing the black rucksack. The beggar rolled up her clothes once, as if she was not satisfied. She opened them and rolled them up again.
The clothes were rolled up and she wrapped them around her waist. When she reached out to touch the cloth bag, the little daughter took out a cloth belt from the bag, like a black belt.
When she put the cloth bag around her neck, her little daughter threw the cloth belt in the middle of the road.
Tell her to bring the cloth, but the youngest daughter refused and deliberately ran to one side to laugh at her.
She looked up at this time, ah, she is blind.
She looked at her daughter's smile, and there was a faint smile mark on her swollen face.
Two or three children came and stood beside me, but the youngest daughter drove them away with her bamboo pole.
The four-year-old daughter is the only protector of her blind mother.
She played for a while and gave the cloth to her blind mother, who carried it on her back. The blind beggar stood up with a wall in one hand and a bamboo pole in the other, so she arrived at the scene and walked to Fuxi Road.
I followed them and thought:
Alas! People still have to live to this stage! Aren't those two rag quilts around the waist left by their mother and daughter at night to keep out the cold?
People still have to live to this stage! Why is the tragedy of life in Shakespeare's masterpieces, in the battlefields of Sichuan and Hunan, and in Tokyo, Japan after the earthquake?
The sound of bamboo poles knocking on the road ... is this a parade to the cemetery?
All the leaves on the roadside have fallen off, and when they fall, they are scattered in the north wind.
Alas, people still have to live at this point! ……
I followed them to the front of Jing 'an Temple, and I couldn't bear to follow them any more. Only two copper coins were found on me, which became my most humble salute to them.
1923 winter, in Shanghai.
Visit Shen Garden
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A writer who touched China.
Remember the pleasure brought by the market in the sky. I read Guo Moruo's famous poem "The Market in the Sky" in the textbook as early as primary school. There seems to be no author's name in the textbook, or even if there is, I don't remember it. I didn't pay much attention to the author's surname because I read all kinds of literary works, even Water Margin and Hamlet. To borrow Mr. Qian Zhongshu's metaphor, I just eat eggs, and I don't even think about where the eggs come from or which chicken's ass rolls out. It was not until I was a graduate student that I began to read Guo Moruo's biographical materials in order to do so-called study. But those boring words can't be compared with Market in the Sky at all. It is so pure, clear and novel. The joy it brought me almost a quarter of a century ago is still fresh in my memory.
In the original legend about the Cowherd and the Weaver Girl, how vast the Milky Way separates them and how difficult it is for them to meet each other, only once a year. In Guo Moruo's poems, the Milky Way is not wide, and the Cowherd and the Weaver Girl can ride the cow freely. This shows the author's sympathy for the Cowherd and the Weaver Girl and his yearning for a better life. He beautified everything in paradise on earth, not only gave my young mind a wonderful enjoyment, but also infected me. I also sympathize with the unfortunate experience of Cowherd and Weaver Girl that I heard from my mother earlier. For a long time, I always thought that I could become a meteor in poetry and illuminate their wanderings with lanterns.
Although Hu Shi's Trial Collection is China's first new collection of poems, as Hu Shi himself admits, his poems are like feet that have been wrapped for a long time. Those feet are neither too big nor too small, but those poems are neither too old nor too new, and they all smell stale. He even translated Byron's poems in Chu Ci. Goddess is a truly mature collection of modern poetry in China. From the spiritual core to the formal phonology, it is the trend of the May 4th Movement. The poems written by Guo Moruo 1920 are still touching. In the early days of modern literature, he has mastered the extremely naive medium of modern Chinese to a very skillful degree, and many poets nowadays may not be able to use it so freely. Guo Moruo is the first prophet poet in modern China. The passionate fighting spirit, romantic feelings and determination to resist in Goddess inspire readers from generation to generation. Wen Yiduo once praised Goddess, saying: "If we talk about new poetry, Guo Moruo's poetry is worthy of being new, not only the works are far from the old ones in art". Most importantly, his spirit is completely the spirit of the times-the spirit of the twentieth century. Some people say that literary and artistic works are the product of the times. The goddess is really a dutiful son of the times. "
Goddess is not only a dutiful son of a certain era, but also some chapters, such as Venus and the earth, my mother! Phoenix Nirvana, Tiangou, Coal in the Furnace and City in the Sky are immortal poems that will touch readers of all ages. "I compare your nipples to two graves. /We all sleep in graves,/Blood turns into nectar! " Reading such a natural and affectionate poem, which reader with normal sensibility will not be heartbroken?
His begging for Chiang Kai-shek made him despair of Japan.
Guo Moruo's prose shocked China, made him show off and suffered a lot. Try Chiang Kai-shek today. From 1926 to 1927, Guo Moruo participated in the whole process of the Northern Expedition War, thus understanding the sinister intentions and criminal purposes of Chiang Kai-shek, commander-in-chief of the Northern Expedition Army. 1On March 23rd, 927, Chiang Kai-shek created the "Anqing Massacre", which exposed the ferocious face of counter-revolution. Although Guo Moruo's personal relationship with Jiang has not yet broken down, Jiang even wrote to Guo Moruo when Guo Moruo left Anqing, asking Guo to go with him. However, out of truth and justice, Guo Moruo flatly rejected Chiang Kai-shek's kindness and slipped out of Anqing under an alias to Nanchang. In Zhu De's apartment, he wrote this well-known and inspiring article: "Chiang Kai-shek is the chief culprit in betraying the country, the people and the revolution. In order to respect the glorious history left by the revolutionary martyrs ... we must rush to overthrow him, destroy him and declare his death. Chiang Kai-shek was in power at that time; As a scholar, Guo Moruo can publicly list Chiang's crimes, condemn Chiang's hooliganism and call on the people to change Chiang's life. How brave it takes! As soon as this article was published, it caused social shock in China, which made people see the true face of Chiang Kai-shek and began to have doubts and vigilance against Chiang as a revolutionary leader. It played a realistic role in the differentiation and reorganization of various forces in China's modern revolution. Guo Moruo also greatly offended Chiang Kai-shek because of this article, and Chiang offered a reward of 30 thousand oceans for Guo Moruo's head; Forced Guo Yu 1928 to flee to Japan.
How many women in China have been inspired by Zhuo Wenjun and Wang Zhaojun? It is Guo Moruo's masterpiece, which has been touched and is still touching the readers in China. 1923, Guo Moruo created the historical dramas Zhuo Wenjun and Wang Zhaojun, 1925, and created Nie Wa. 1926, he compiled these three plays into Three Rebellious Women and published them. These early dramas show the "rebellious spirit of flouting all authority" that generations of young people yearn for. He shouted for China women who had been suppressed for millions of years: "We women should live independently and demand all kinds of equal treatment!" At that time, it was really bold and groundbreaking. As soon as the play was published, it was besieged by feudal guardians. It is said that when Shaoxing Women's Normal School performed this drama at that time, it caused an open confrontation between the old and new local forces, so that county councillors moved to remove the principal; Later, Zhejiang Education Association also banned students from putting the play on the stage in the name of "immorality" and "immorality".
If Zhuo Wenjun rebelled against the clan power represented by her father, then Wang Zhaojun rebelled against the monarchical power represented by the emperor, and her rebellion was also tragic. With the domineering spirit of a gifted scholar and poet, Guo Moruo changed the cowardly image of Wang Zhaojun in the old drama and put her on the opposite side of the Han and Yuan emperors. Yuan Di had intended to even force her to stay in the palace, but she was not afraid of power and didn't want to enjoy it. She insisted on going to the desert to marry Attila. Wang Zhaojun's image encourages China women to stand in the same trench as men, dare to challenge and confront threats from the peak of power, and defend their rights and dignity as legitimate citizens to the death. Encouraged by Guo Moruo's dramatic works, a considerable number of women embarked on an independent life path, and even shed their blood on the revolutionary road.
I want to see Qu Yuan every time.
Guo Moruo's most influential and shocking play is Qu Yuan. This drama eulogizes the great patriotic poet Qu Yuan in the spirit of revolutionary romanticism, eulogizes the fighting spirit of resisting oppression and aggression, lashes the capitulationism of seeking sexual harmony and peace, and denounces the traitorous behavior of "making peace with foreign countries". Although it is a historical drama, it is aimed at reality; It reflects the faces and mentality of all kinds of people in China, but it is highly concentrated, with fierce drama conflicts and extremely tense scenes. Among them, Qu Yuan's monologue "Ode to Thunder and Electricity" is like real thunder and lightning, which can definitely shake the audience from their seats: "Wind! You shout! You shout! Yell hard! In this dark time, everything is sleeping, dreaming and dead. It's time for you to roar, and it's time for you to roar desperately! " It is said that when the play was performed in Chongqing in the spring of 1942, it happened to be a night when a storm was coming. The recitation on the stage echoed in the thunder outside the theater, which suddenly shocked the whole mountain city. In the days that followed, people were immersed in Qu Yuan's emotional atmosphere. Many people recited Ode to Thunder and Electricity over and over again, drawing strength from it and fighting. Poems such as Ode to Thunder and Nirvana of the Phoenix are still the reserved programs of many recitals, which will cause quite a stir. I watch Qu Yuan every time, so that the lightning of words strikes me and wakes me up from the dull secular life.
Even with a thousand mistakes, they are still masters of culture.
I admit that my poetry creation has always benefited from the goddess. Even if it is not a work specially used for recitation, I try to write catchy and pleasant. I looked for various versions of the goddess and watched it many times. I can still recite many of these poems. The rhythm of some poems has been internalized into the depths of my mind and I can't get rid of it. I branded my work intentionally or unintentionally. I think it is a beneficial influence, so I am not ashamed, but proud.
The interpretation of China Museum of Modern Literature is the so-called expert interpretation, and I have listed it. Every time I talk about Guo Moruo, I will nod with my fist and show my special respect slightly. Every time I talk about the goddess, I will have a feeling of seeing my long-lost first love. My blood rushes up and my spirit rushes up. A person with poor health is not suitable for talking about the goddess.
I admire Lu Xun but admire Guo Moruo; Because of Guo Moruo's heavenly thoughts, his poems can lead me to look up at the sky, not just scan the world. I think in the cultural edition of China in the 20th century, Lu Xun had the deepest thoughts, Guo Moruo was the highest and Qian Zhongshu was the richest. In front of several people, I sincerely said to Ms. Guo Pingying, a philosopher in Lao Guo: "With Lao Guo's talent, if you specialize in a subject, it is more than enough to win a Nobel Prize; Of course, with his worldly wisdom, I am afraid he will not bother to be shackled by a particular field. "
I know that many scholars are critical of Guo Moruo's performance in his later years, and even have the attitude of bringing him down. But in my opinion, it's all ephemera shaking trees, bring disgrace to oneself. Guo Moruo is still a master of culture despite his 1000 mistakes. Many of his pioneering achievements will not be tarnished by his rashness in his later years. Now we have been reading him, studying him, reciting his poems and performing his plays, which is self-evident.