Wang Yao said, "Guo Moruo is the person who has the perfect conditions to write historical dramas." What does it mean?

Guo Moruo "is the most accomplished scholar in the study of new history in China, and he is also the most outstanding new literature writer. Therefore, he is also the person who has the perfect conditions to write historical dramas

Have a look His achievements:

Guo Moruo wrote a lot in new poetry, historical dramas, essays, novels, etc., especially his creation of new poetry and historical dramas, which made a major creative contribution to the development of Chinese new literature. The first collection of poems, "Goddess", not only established Guo Moruo's image as an outstanding romantic poet, but also became a monumental work that marked the maturity of new Chinese poetry.

"Goddess" was published in August 1921. Before this, there had been many people writing new poems in China, and new poetry collections had been published. However, many of the new poems "took the subject of describing real life rather than focusing on imagination" and focused on "reasoning" but "lacked lingering fragrance and aftertaste." ", the old smell is stronger in form, "most authors are too anxious to get rid of the tone of the old poems" (Zhu Ziqing: "Introduction to the Poetry Collection of "The Series of Chinese New Literature"). "The Goddess" has brand-new ideological content, The bold free verse style and romantic artistic style created a new poetic style for our country's modern poetry and opened up a new world for free verse poetry.

In addition to the "Preface", "The Goddess" * **Collected 56 poems, including poems written from 1916 to 1921. The poet's heart was filled with personal and national sorrow and anger, and the style of the poem was sad and low; after the "May Fourth Movement", the poems were soaring. The sudden spirit of the times has brought light and hope to the poet, and the poetic style has become bold and bold. Patriotism is the soul of the poem "The Goddess", which enthusiastically praises the motherland after the "May 4th" and ardently expresses the rising Chinese nation. Hope is the most beautiful poetry that Guo Moruo presented to the May Fourth Movement. He said: "China after the May Fourth Movement is like a very pretty and enterprising girl in my mind. She is simply Same as my lover. "("Ten Years of Creation") The poet, with a heart like fire:, misses the new motherland - his beloved "young girl" ("Coal in the Furnace"). He expresses his love to the young motherland and new compatriots, I send my affectionate greetings to the Yangtze River, the Yellow River, and the great pioneers: Wake up! Mesame! Come and enjoy this once-in-a-thousand-year morning light! ("Good Morning") "Phoenix Nirvana" is The representative work of Guo Moruo's new poems. This is a solemn ode to the times, a poem full of complete rebellious spirit and eager yearning for the light. The poet gives the phoenix a huge symbolism; the phoenix's self-immolation symbolizes the complete negation of the old world; the phoenix's rebirth, It symbolizes that the ancient Chinese nation and a generation of young people have gained new life in the fire.

Under the sunshine of the October Revolution, Guo Moruo admired the Soviet Union led by Lenin very much, "for the birth of this new society." request for further understanding" ("Guo Moruo's Selected Works: Preface"). In "The Goddess: Preface", he declared that he "is a proletarian" and "is willing to become a communist." In "The Bandit" In "Ode", he praised all "the gangsters of social revolution" and shouted long live to Lenin. The poet praised the workers and farmers who benefited mankind on the earth, calling them "the Prometheus of all mankind" and "all mankind." "Nanny"; the poet expressed that he should learn from the workers and peasants and work non-stop to repay the earth's deep kindness ("The Earth, My Mother!"). These poems reflect some socialist factors in the author's thinking. It brings a spark of revolutionary idealism to the entire poem.

Guo Moruo is a romantic poet who emphasizes subjective lyricism. Many chapters of "Goddess" create a character who strongly pursues the liberation of personality and integrates with all things. The lyrical image of oneself. During the May Fourth Movement, Guo Moruo was not the only one to express his individuality and sing about himself, but he was different from other poets. In his poetry, he rebelled against all established moral concepts and traditional forces and expressed his voice of respect for himself. That kind of enthusiasm for creation, in old China where the feudal patriarchal system completely stifled individuality and imprisoned people's thoughts, can be said to be a kind of revolution that was screamed out when life was short, permeated with a positive spirit and high-spirited vitality.

At this time, Guo Moruo was obsessed with the pantheistic view of the universe and had a deep affection for nature. He praised the mountains and oceans, the sun, the moon and the stars, the wind, clouds, snow and rain, which gave life to nature. Man and nature have achieved a harmonious unity, expressing his beautiful expectations for social life; but when his ideals are disillusioned, he will return to nature. In pursuit of a world of "nothing", nature has become his escape.

After "Goddess", Guo Moruo's second collection of poems "Starry Sky" was published in 1923. He believes that this is "some microwaves after the tide recedes, or even dead silence", "the volcanic eruption of inner emotions like the era that produced "The Goddess" is gone" ("Preface to My Poems"). In "Poetry" at the beginning of the collection, the poet described himself as "a goose with an arrow" and a "wounded warrior" lying on the battlefield feeling "deep depression". The poet was tired and wanted to find a paradise where he could sleep soundly. He wanted to drink from the handle of the Big Dipper. "Drink up all the wine flowing in the river that day and try to stay drunk forever" ("Starry Sky"). The poet sometimes recalls the "free and pure original man", admires the lonely Shouyang Mountain, and whispers "Ding Dong, Cong, exquisite, every sound is a dream, every sound is empty" ("The Second Son of the Lone Bamboo Lord"). These poems reveal strong nihilistic sentiments. Although "Starry Sky" still maintains the poet's romantic artistic style, and some poems still reveal the poet's active exploration and pursuit of light, the passionate and unrestrained poetry of "Goddess" has faded, and the passionate and romantic pursuit of ideals has been diluted. Magical and wonderful poetic realms are also rare. Compared with "Goddess", the artistic skills of "Starry Sky" tend to be more mature, the structure is more rigorous, the lines of poetry are more neat, and the language is more concise and implicit. Some small poems describing scenes and lyrical feelings are lingering and the style of poetry is elegant.

The collection of poems "Qianmao" was published in 1928. Except for "Preface" written in 1928, it includes 22 poems written by the author from 1921 to 1924. It reflects the changes in the author's thoughts and emotions. The poet strives to get rid of the negative influence of pantheism and face the injustice in the world. Some poems vividly describe the bright prospects of the workers' and peasants' revolution. The poet hopes that the Chinese revolution, which is "beating the thunder", can "overthrow all the old roots and foundations, and at the same time shed a new light in the history of mankind" ( "Dialogue between the Yellow River and the Yangtze River"). In "The Sun Is Gone", written to commemorate the death of Lenin, the poet said with a deep heart that he would follow Lenin's path and hold the "torch of sincerity" to continue the work of "chasing darkness and purifying demons". Some of the poems in "Qianmao" are vague in content and have conceptual flaws. Guo Moruo admitted that ""Qianmao" is not sublime, and has only some historical significance" ("Haitao Collection: Before Leaving Shanghai").

After writing the love poem "Vase" in 1925, Guo Moruo did not write poetry for about three years. He "suspended the purely literary and artistic activities of the early Creation Society and began to turn to a deeper understanding of dialectical materialism" ("Appendixitis" Inscription). The collection of poems "Recovery" was written by the author in November 1927, when he took refuge in Shanghai after recovering from a serious illness. It contains 24 poems and was published in March 1928. This is the poetic declaration of a revolutionary soldier who "keeps his attitude thorough and his will red" in the days of white terror. The poet openly declares that his poetry belongs to the proletariat. He will roar to welcome the re-emergence of the proletarian revolutionary storm ("Poetry's Manifesto"). These "loud and noisy" battle poems mark the poet's footsteps in the Northern Expedition and forge ahead during the First Civil Revolutionary War, and show the awakening and strength of the workers and peasants. In the historical atmosphere where "everything in sight is white", it plays a role in stimulating fighting spirit and fighting against the countercurrent. In the process of transforming his world view, Guo Moruo once criticized and denied the romantic creative method, and stated that he would resolutely move from the romantic tendency of the "Goddess" era to the road of realism. However, "Recovery" and later poetry collections such as "Zhan Sheng Ji" and "Xi Xi Ji" show that reluctantly changing his artistic style is detrimental to his creation. The objective effect is that the poet has lowered the aesthetics of his own poetry. Requirements, there are conceptual flaws in the work.

Guo Moruo is famous as a poet, but he also wrote many novels.

From November 1919 when he published his first novel "The Shepherd's Lament" in Beijing's "New China" to January 1947 when he published "Underground Laughter", he wrote nearly 40 novels and short stories. These novels can be roughly divided into two categories: "surrounding novels" and "sustenance novels". "The novels around him are very similar to his poems, and the subjective burning strongly attracts readers" (Zheng Boqi's "Introduction to the Three Novels of the "Chinese New Literature Series""). "The Drifting Trilogy" is the representative work of Guo Moruo's "autobiographical" novels. These "novel around me" seem to be written in letters, with an overview, the structure is relatively loose, and it is difficult to chew. However, the author's passionate emotions in the protagonist's candid inner confession were still quite able to stir the hearts of readers at that time. The collection of historical novels "Hoot Hoof" was published in 1936, including "Confucius Eats" and six short stories from 1935 and 1936. These novels are full of the spirit of historical criticism and have obvious satirical meaning. "Sima Qian's Fury" was evolved into a chapter based on Sima Qian's "Report to Ren An". It is the novel in "The Hoof" that best expresses Guo Moruo's spiritual world when he fled to Japan. Even when he lost his freedom of movement, Guo Moruo still worked hard to remain steadfast and devoted himself to writing history. He wrote to praise Sima Qian's broad spirit of writing passionately despite being humiliated, which was a conscious attempt to learn from Sima Qian's character and writings. These historical novels contain the author's strong subjective color, casting his own thoughts, feelings and aesthetic ideals on the ancients, maintaining the author's romantic artistic style.

In addition, Guo Moruo's biographical literature is praised by readers, such as "My Childhood", "Before and After", "Black Cat", "Ten Years of Creation", "Northern Expedition", "Hong Bo" "Qu" and so on, in the broad and complex background of social life, it specifically describes the author's personal life experience, cultural academic activities and social and political activities, and truly records Guo Moruo's life path in the ever-changing historical trend. These biographical works are precious documents he left for future generations to study the history of modern Chinese culture and thought. They also broadened the path for the development of modern Chinese biographical literature in art.

Guo Moruo's historical drama written during the Anti-Japanese War was the second peak in his literary career after "The Goddess". Guo Moruo "is the most accomplished scholar in the research of Chinese new history and an outstanding new literature writer. Therefore, he is also the person who has the perfect conditions to write historical dramas" (Volume 2 of Wang Yao's "History of Chinese New Literature"). His six plays, "Tangdi's Flower", "Qu Yuan", "Tiger Fu", "Gao Jianli", "Peacock Gale" and "Nanguancao", opened up a new path in the field of historical dramas.

Paying attention to the practical significance and social effects of historical drama creation is Guo Moruo's view of historical drama that he has always adhered to. As early as the early 1920s, he said: "I want to borrow the bones of the ancients and add some life into them." ("The Second Son of Lord Lone Bamboo: Preface") However, his early historical dramas only borrowed historical figures. They use their shadows to gallop their own creations, rather than strictly based on historical documents to provide a deep understanding and realistic depiction of the spiritual outlook of the ancients. Later, Guo Moruo used historical materialism and emphasized that writers should study history and be familiar with history. "A historical dramatist must be an authority in research within the scope of the subject matter he handles" and "an excellent historical dramatist must be an excellent historian" ( "History·Historical Drama·Reality"), so his creative intention of emphasizing that historical dramas should irrigate the reality of flat peaches has a reliable foundation. The masterpiece "Qu Yuan" was the most influential work in the anti-Japanese democratic movement at that time. It was a new historical drama that used a historical materialist perspective to interpret history in a new way and exerted the combat effectiveness of "serving the past for the present." In the early 1940s, the author lived in Chongqing, which was under the control of the Kuomintang. He "saw a lot of tragedies of the times, large and small", so he decided to "resurrect the anger of this era in Qu Yuan's era" and "borrowed Qu Yuan's era to Symbolizing our current era" ("Preface to the Russian Translation of the Historical Drama "Qu Yuan"). The script summarizes his tragic fighting life through one day's life and struggles of Qu Yuan, the patriotic poet of Chu State during the Warring States Period. At the end of the script, Qu Yuan left Hanbei and continued to fight against the forces of darkness, which showed the author's resentment towards the dark world and his longing for a bright future.

The number of Guo Moruo's poems after the founding of the People's Republic of China is considerable, but as the author himself admits, "there are many poems but few good ones." Most of these poems were written impromptu in conjunction with political movements, production tasks, or outings and visits. They lacked rigorous conception and artistic refinement, and sometimes became conceptual. However, some poems still retain the charm of "The Goddess", showing the poet's romantic and unique artistic style. For example, the poem "Camel" is based on real life, but it is filled with the poet's rich emotions. The poet enthusiastically praises the camels that guide travelers from darkness to dawn in the desert. The lines are filled with a strong atmosphere of revolutionary heroism and revolutionary idealism. In poems such as "Ode to New China", the poet eulogizes the founding of New China, hoping that a new world will appear in China with hundreds of flowers blooming and hundreds of birds soaring in the sky. He hopes that a new world with hundreds of flowers blooming and competing for beauty will appear in the socialist literature and art garden. scene. "The carving knife will be used more flexibly from now on, and the conductor's staff will shed extremely powerful music."

Guo Moruo also wrote many old-style poems. Some poems are meaningful and profound, leaving a deep impression on readers. Such as "Visiting Japan" (ten poems) written in December 1955, "Chongqing Trip" (sixteen poems) written in 1960, and "Huangshan Scenery" (1964), "Shui Diao Ge Tou" In "Picture of Lying Bananas" (1966), etc., the poet recalls the past with infinite cordiality, and describes the scenery in front of him, which is also a vibrant scene. Some of these old poems are famous for their elegance, some are famous for their boldness, some express the poet's feelings, and some focus on expressing the people's high emotions and majestic momentum. His old-style poems dared to create boldly within the rules, and they both adhered to the rules and made breakthroughs. However, some of his poems also had the problem of piling up slogans.

In terms of literary theory, Guo Moruo's "Notes on Reading Suiyuan Poetry" (1961), in addition to criticizing the feudal consciousness reflected in Yuan Mei's poetic theory, also focused on the rules of literary creation, the characteristics of literature and the aesthetics of literary artists. There are many precise discussions on consciousness, which is the enrichment and development of Guo Moruo's early romantic poetry theory. "Li Bai and Du Fu", written in the late 1960s, is Guo Moruo's last academic monograph. Guo Moruo's evaluation of Li and Du was obviously subjective. His praise of Li and suppression of Du was greatly influenced by the "class struggle as the key link" in the 1960s, and he mechanically used the method of class analysis to evaluate the ancients. Of course, he praised Li and Du. Dudu also reflects Guo Moruo's aesthetic taste and artistic tendency that he formed in his early years. The author also puts forward some academic insights worthy of attention in the book.