Uptown, when the poet arrived, he volleyed out five big characters "Long live the spirit". These characters have a great revolutionary ambition to remember the past from childhood to adulthood, and also have a more magnificent ideal to continue the revolution in the future. Then immediately let this "spiritual ambition" be put into practice. This "Ling Yunzhi" is not a scholar talking about soldiers, drifting with the tide, but down-to-earth, starting from the most basic point that a journey of a thousand miles begins with a single step, and the tree that embraces is born in millimeters, and establishing the Jinggangshan revolutionary base area. The second sentence follows the previous sentence, pointing out that the poet returned to Jinggangshan because of his long-standing ambition, which not only inherited the "Ling Yunzhi" when he was young, but also spread and expressed the "Ling Yunzhi" of the poet today and tomorrow. The poet told us that this is how he went to Jinggangshan again with the immortal "Ling Yunzhi", and then with the heroic spirit of Jinggangshan and the lofty sentiments of the poet, in order to continue the revolution, a heroic spirit should be reunited among the boundless green hills.
Then the poet searched for his old place thousands of miles away and felt that he had certainly seen the new look of Jinggangshan. This is the Jinggangshan after liberation, where orioles sing tactfully everywhere, swallows dance, flowing water gurgles like music, and the wide Panshan highway goes straight into the sky, presenting us with a new landscape painting of socialist construction achievements artistically. At this time, the poet has a sigh of "relief now".
Then the poet's pen turned again, showing the pride of the year: "After Huang Yangjie, you don't have to look out at the danger." This means that the battle of blood and fire in Huang Yangjie has passed. What risks are there to fear in the future? With these two sentences, the poet expressed Ingram's microcosmic spirit that he dared to challenge any danger and any enemy. Indeed, according to the memories of the entourage who accompanied the poet to Jinggangshan at that time, "his old man's house went to Huang Yangjie despite the fatigue of riding all the way. On the Huang Yangjie, the sun is shining, especially magnificent. Chairman Mao and his old man stood in the highest place and watched it for a long time. " The painting of the poet standing in the distance shows the poet's surging feelings of "thinking about heaven and earth, boundless, boundless, lonely and tearful", which is so beautiful, noble, great and romantic that all ordinary people can't imagine and understand.
Next, the poet begins with a narrative of the year, and three consecutive sentences show the magnificent scene of Jinggangshan and the whole revolutionary struggle period. Red flags are rolling and storms are stirring. This is the world, and this is the inevitability of revolution! Then the poet looked back and the snow mud sighed. Thirty-eight years, what a long time it has been, how many sacrifices and hardships it has experienced ... but it is so short for the long river of time (or for this scene and this situation); It's an instant, "a flick of a finger", just like smoking a cigarette, and it's gone in a few minutes (and Chairman Mao loves smoking).
Next, the poet expressed his fearless ambition for the coming struggle and the future struggle: he can fly to the sky to pick the moon, or he can plunge into the ocean to catch fish and turtles, and then laugh loudly and sing the song of triumph. The victorious teacher will return to North Korea with joy. Here, the poet expressed his inner chic and grandeur. Then the last two lines of the poet show a simple and ordinary truth to themselves, to us and to the whole world: "Nothing is difficult in the world, only if you put your mind to it." From here, we can also see that the poet's chic, magnificent and lofty aspirations are not empty, but very real, because he has a more ordinary heart than ordinary people and knows how to carry out the extremely simple and simple truths that seem to be despised by ordinary people.
And from a poetic point of view, these last two lines are also very risky. Maybe they are vernacular, but here they give people a solid and powerful profound philosophy. This artistic feature is in line with what Qian Yong said in Tan Shi in the Garden in the Qing Dynasty: "Oral English can be used in poetry and tune, and it becomes a good sentence." This feature of Mao Zedong's spoken poetry not only enriches the art of China's classical poetry, but also enriches the art of China's modern poetry, which is worth studying.
I hope it helps you:)