What are the characteristics of Guo Moruo's poems after the founding of the People's Republic of China?

Guo Moruo's "prolific" poems after the founding of the People's Republic of China are the direct products of his enthusiastic concern for the achievements of China's socialist construction, class struggle and various "movements" and his observation of international affairs. He has been absorbed into his works from the movement to defend world peace in 1950s, the Korean War, the "three evils", the five evils, the promulgation of the general line in the transitional period, the opening of the Yangtze River Bridge, the completion of the Ming Tombs Reservoir, the policy of "letting a hundred flowers blossom", the Great Leap Forward movement, the steel-making movement and the people's commune movement, to the literacy movement, the prevention and control of cotton aphids, and the elimination of the "four pests".

1958, Guo Moruo spent 10 days promoting the policy of "letting a hundred flowers blossom" put forward by Mao Zedong. He wrote * * *10/a poem entitled 100 kinds of flowers, which was included in People's Daily. This group of poems was painstakingly obtained by the poet. In the "Introduction" written when the first three short poems were published, he asked the readers to "give me some details of exotic flowers and plants in various places". The poem "Let a Hundred Flowers Bloom" is structurally expressed as a formula of "image description-a political concept", that is, from the description of a certain feature in the form and texture of flowers to the interpretation of political opinions. From daffodil's "living only by a spoonful of water and a few stones", it was associated with the slogan of "try to save as much as possible" put forward by the general line at that time, saying that it was a "promoter" of "saving food and living fast, living well and living much more". ..... "Let a Hundred Flowers Bloom" can be said to be a precedent from the folk song of the "Great Leap Forward" to the simple chanting poems popular in the 1960s and 1970s. "

Obviously, the retrogression of these poems in poetic art cannot be completely accepted by people. In the face of many people questioning that it is a simple "word game" and "political phonograph", Guo Moruo said: "My" being a phonograph "is precisely asking people not to express themselves." "Oral slogan poetry is also a kind of poetry, and the benefits are just right. The reason why people criticize it is a matter of strategy. If social conditions permit, that kind of explicit poetry is very valuable. A sense of respect is not necessarily a yo-yo. You shouted slogans and made slogans, but the slogans were well done, the slogans were well shouted and the beginning was not good. In fact, slogans and slogans are the most difficult to do, and experienced people will know. " Many people are willing to look at Guo Moruo's poems in this period with sympathy, but it does not help the fact that these poems are gradually eliminated and forgotten. After all, poetry itself has its own aesthetic laws.