This poem is full of sadness, lamenting both the national luck and itself, exaggerating the hatred and suffering of the country to the extreme. However, the last sentence turned from sadness to strength, from depression to excitement. Generated and wrote a poem "Who has never died in life since ancient times, leaving a red heart to shine in history", which was impassioned. hit the floor, with his majestic momentum and sonorous tone, expressed the poet's national integrity and outlook on life and death.

The poems of "worrying about the country and the people" reflect the sufferings of China's family and people during the war. Worrying about the country and the people includes not only Cao Zhi's "Death in a National Disaster", but also Xin Qiji's "To rule the world in the end and gain a good name after death", and even more Wen Tianxiang's "Who has never died in life since ancient times, leaving a heart to shine on history".

Under the banner of "dying in the national disaster", Xin Qiji went to "break the array", and Lu You left the earnest expectation that "Julian Waghann will go to Beiding Central Plains Day and not forget his family sacrifice" before he died. Worrying about the people, Du Fu is the most affectionate. Regarding Du Fu's personality, Zhu equated him with Yan Zhenqing, Zhuge Liang, Han Yu and Fan Zhongyan, meaning a man of noble character.

Zhu believes that they "have different experiences and different positions, but if they seek their hearts, they will all be open and aboveboard, open and aboveboard." Du Fu's "aboveboard" is his humanitarian concern for human life. His "Three Officials" and "Three Farewells" are like an epic, recording the hardships of the people in the war.

Those young people who "marry and ask for a husband, it is better to abandon the roadside", the old people who "have all died in the battlefield, how can they use their bodies alone", and the victims of "no news, the dead are heavy", these images point directly to people's hearts. Du Fu's love for the people is sincere and affectionate.

The feelings of home and country have become the aesthetic gene accumulated in China's classical poems. It is deeply hidden in the soul of China, proud but not proud, light but not demon.

Its introversion and tolerance have made China culture high-spirited and confident: "Don't boast of lewdness, just keep it fresh and dry." This cultural self-confidence goes hand in hand with classical poetry, exquisite and colorful, beyond space, lighting up the times, shining the future and reflecting the future.