Besides personality, what do scholars say about Guo Moruo's poems and historical plays?

On July 9th, 20 16, Guo Moruo's wax figure was exhibited in China National Museum.

165438+1October16th is the birthday of Guo Moruo124th anniversary. From the works full of rebellion and rebellion in the May 4th period, to the achievement of the benchmark of the times, to the important position of the National Association of Writers and Artists and the China Federation of Literary and Art Circles after the founding of the People's Republic of China, and then to his death, there are disputes about his performance before and after the Cultural Revolution. Until today, people's evaluation of Guo Moruo is still controversial. If you don't talk about him, just look at his works, you will find that there are many disputes about his handed down works in academic circles. Some scholars affirmed his resistance and epoch-making significance, while others criticized him fiercely.

Praise of Guo Moruo's works

192 1 year, Guo Moruo's first book of poetry, Goddess, was published, with mixed comments. Among the praises, the most is the affirmation of his free poetry school and vernacular poetry style. For example, Zhu Ziqing wrote in China's Introduction to New Literature Series and Poems: "Poetry is dedicated to lyricism and self-expression, and the poet's weapon is only pure intuition; He (Guo Moruo) hates form and naturally expresses superiority. " Wen Yiduo once vividly described: "Suddenly, a person sang all this for them with the bottom sound of the waves and the bottom sound of thunder. This person is Guo Moruo and sings the goddess. "

192 1 version of Goddess.

On the second day after the first edition of Goddess, Zheng, a writer of Creation Society, analyzed its ideological core. He believes that Goddess is the product of personality liberation. Guo Moruo shows his ideals, contradictions and struggles to readers through a large number of direct emotional expressions and catharsis, and also shows the nirvana spirit of longing for new life through destruction. Subsequently, scholars made an in-depth discussion on the expression, ideological connotation and social psychology in Guo Moruo's poems. These praises finally point to his romantic spirit and unremitting pursuit of freedom.

Academic research needs new development and new interpretation. Since the new era, Guo Moruo's works researchers have tried to understand his works from the perspective of cultural character and cultural tradition. Huang Houxing, an early researcher of Guo Moruo, believes that Guo Moruo's poetry creation has a distinct "youth" cultural character. "As a poet and scholar, Guo Moruo's life has always been branded as' youth' in spirit, temperament, personality and emotion."

Sun, a professor of Chinese Department in Peking University, also wrote On the Ontology of Guo Moruo's Romantic New Poetry, and put forward the Ontology of Guo Moruo's Romantic New Poetry. He believes that the poet's mood and life mood are the core of Guo Moruo's romantic new poems, and emotion is Guo Moruo's "source of poetic life".

Besides poetry, Guo Moruo's plays, especially historical plays, are often praised. He has created 1 1 historical dramas in his life, all of which are in a style of comparison between the past and the present. Qu Yuan can be regarded as his masterpiece. Shortly after the script was completed, essayist Sun Fuyuan wrote an article praising the play as a "new meaning song" and thought that the script showed "the spirit of China, sacrificing his life for independence and freedom". Liu suddenly commented that the fundamental value of Qu Yuan lies in "giving valuable lessons and examples to the people of China who are struggling for the revival of War of Resistance against Japanese Aggression with Qu Yuan's lofty patriotism and indomitable excellent personality".

1942 stills of the drama Qu Yuan, in which Jinshan plays Qu Yuan and Zhang Ruifang plays Chan Juan.

Criticism of Guo Moruo's works

Criticism of Guo Moruo's works is almost accompanied by his own ups and downs. There are many criticisms of his works in the early academic circles. For a long time after the founding of the People's Republic of China, especially when Guo Moruo held an important position in the China Federation of Literary and Art Circles, few people criticized him. It was not until Guo Moruo's death that articles on reflection and evaluation appeared one after another.

There is no denying that Guo Moruo is not a fine author, and there are many "poor" works in his life. In addition, as the saying goes, "There are a thousand Hamlets in the eyes of a thousand readers." Looking at Guo Moruo's works from another angle, we can also find many problems. It was mentioned earlier that Wen Yiduo once praised the goddess, and later he also criticized it. "The poem is full of unnecessary western words." "The author of the goddess is too excited in the West, and he certainly can't appreciate the peaceful beauty of the East ..."

In addition, the current criticism of Guo Moruo's works is mostly concentrated on the works after the founding of the People's Republic of China. Some scholars have pointed out that his works are typical politicized literary works after the founding of the People's Republic of China, for example, he often mentioned the image of "Dongfeng" in his later period. This is consistent with the keynote of "East Wind Overwhelms West Wind" put forward by Mao Zedong. Since May 1962, Guo Moruo has never stopped echoing the political meaning of "West Wind" in Mount Emei in Qin Yi. Politics first and political correctness have almost become the core ideas of Guo Moruo's later creation.

Meanwhile, his later poems are full of slogans and slogans. From the early pursuit of freedom and liberation, he suddenly took the lead in advocating idolatry and even praised various policies without managerial judgment. Today, this is a great irony. For example 1974, Guo Moruo wrote a poem "Spring Thunder":

Spring thunder shakes the earth to show off the Soviet Union, and the sea group competes for dragons and pearls.

He affirmed Qin Huang's contribution to one hundred generations, and sentenced Kong Xuaner to culpable of punishment.

Ten batches of big mistakes are as clear as fire, and Liu Lungao.

Willing to keep pace with the workers and peasants, clean up the filth and draw a new picture.

In addition to poetry, scholars' criticism of Guo Moruo's historical plays mainly focuses on his profound change and re-creation of traditional historical facts and legends. For example, in the early "Wang Zhaojun", he obviously falsified and fabricated it in order to express his feelings and highlight the main idea. In this regard, playwright Gu Zhongyi and writers at that time made sharp criticisms to Pei Liang. In addition, in his early historical dramas, there are indeed problems of too direct and obvious thoughts and too simplistic artistic expressions, so scholars should focus on these.