Chapter 32 Section 2 Lyrics of the Times: "Songs of Guilin Landscape" and "Three Days on the Yangtze River"

For the mainstream ideological discourse in the 1960s, although it had just passed through the severe famine disaster, the common name of the era it constructed had unshakably established its dominant position.The literary world has entered a "lyrical period" of grand narratives. "Reality actually refers to a judgment on reality. The description and enthusiasm for reality itself means a kind of lyricism." 6. This lyricism is reflected in published literature The works appear in a seemingly objective way, that is, through the description of objective scenery. The ancient lyrical technique of borrowing scenery is no longer expressing personal feelings, but using the beauty and sublime of nature as a metaphor for the beauty and beauty of the times. Sublime, traditional artistic techniques also take on new ideological overtones.He Jingzhi's "Guilin Landscape Song" and Liu Baiyu's 7 are typical representatives of this phenomenon.

These two works are both successful in the description and portrayal of the scenery, with the characteristics of "fu" in style. "Song of Guilin Landscape" begins with a general description of the scenery: "God in the clouds, fairy in the fog, / The mountains of Guilin look like gods! / / The love is as deep, the dream is as beautiful, / Love is like a dream Lijiang water!..." Reading today, these verses are still quite expressive and appealing.Liu Baiyu also has the ability to describe the scenery. The description of the scenery of the Three Gorges, whether it is the steepness of Qutang Gorge, the beauty of Wu Gorge or the fierceness of Xiling Gorge, is excellent.Just as Han Fu permeated the spirit of the Han Empire when it was first established, these two works also show the worship and belief in state power, even more directly than Han Fu. "Guilin landscape" has become a foil for the warrior's pride in He Jingzhi's pen: "Guilin landscape is in the heart,/This scene is like the heart of the warrior..." The beauty of landscape often arouses an ethereal and melancholy sigh in classical literature. The eternity often sets off the shortness of life, but the influence of the spirit of the times enables He Jingzhi to transform the beauty of mountains and rivers into the pride of a warrior, without any melancholy or sentimental atmosphere, because the lyrical protagonists in his poems share the spirit of the times. The essence of the self, the small self has gained expansion and eternity in the big self, so there will no longer be a feeling of short life.This kind of pride made him even want to go to "Qixingyan to go to the fairy meeting, / Greeting Liu Sanjie and calling from the sky meeting//...the third sister's folk songs are a thousand and eight thousand baskets,/Soldiers, point out the country and sing about the motherland..." In the sky The underground, the north and the south of the sea, are all within the scope of this warrior poet "pointing the country". One look at the sky!" Finally sang the strongest voice of his carol, the pride of the times connected to his poetry, making him "full of meaning and full of chest", "sweat and rain swaying colored strokes──/ Guilin "Shanshui—all over the world" has completed the transformation from the description of landscapes to the ode to the times.Liu Baiyu also expresses emotion through description, but his expression has a process, which is different from He Jingzhi's direct expression.The Yangtze River's "broad-narrow-open" journey gave him the imagination of "fighting-sailing-going through the night to dawn", so his journey also took on the symbolic color of ideology:

"The dawn is ahead, we should work hard." At this time, a solemn and beautiful emotion filled my heart, and I felt that the great era I had experienced was suddenly concentrated on the galloping Yangtze River.Yes, isn't that how our whole lives are fought and sailed and marched through the night to the dawn? ... Our philosophy is the philosophy of revolution, our poetry is the poetry of battle, and because of this - our life is the most beautiful life.Lenin once said it very well: "Go forward! How good this is! This is life!" Written after the failure of the Great Leap Forward, the author kept emphasizing the significance of overcoming obstacles and sailing forward.This kind of symbolic imagery keeps appearing in the article. For a while, it is "a beam of sunlight falling like lightning on the left cliff" in the steep canyon, and for a while it is "a wooden boat going upstream. It seems that this green beach is very powerful. It is frightening, but man has mastered a way out of the turbulent waves, and he has conquered nature", and so on.At the end of this article, facing the "world" of the Cold War era, it extols "the fragrant, peaceful breath exuded by our entire land today, this socialist breath, is exactly the world, whether in Asia or In Europe, in America or in Africa, the blood of all the pioneers is condensed, and radiates the most free and powerful brilliance.” This voice is already directly expressing the emotion of the times.The lyrical subject of these two works is an "I" without exception, but this "I" is not an individual in the end, but the embodiment of "history", "reality" and "era". In the propaganda of the common name of the era, the individual is no longer an individual in fact, so the lyricism of this "I" can have such great pride and courage.