2. 2 Blending emotion with scenery
As it known to all, Mao Tse-tung’s poetry deal with plenty of natural scenery and cultural sights, which become lots of images easily used by the poet in his poetry. He is good at expressing his emotions through the typical character of these images with his spiritual will and creating a sign of blending emotion with scenery.
Huichang Tune: “Pure Serene Music” is the representative of this type. In October 1933, Jiang Jieshi lauched his fifth encirclement campaign against the Red area centered on Ruijin in Jinagxi Province. It lasted a year and the Red Army was trapped in trouble because some leaders such as Bo Gu and Li De, followed the wrong policy of Wang Ming running the risk. As a result, they had to withdraw from its base and began its long march to the northwest. So the central top leaders, including Mao Tse-tung, were very worried about the prospect of the Red Army. In the summer of 1934, Mao Tse-tung came to Huichang, southwest of Ruijin, ascended on the morning of July 23 the high peaks outside the Huichang walls, overlooking green large high mountains stretching to the shore of the East ocean in the distance, smiled confidently. It seemed that he had an ideal all of a sudden. Then he found a way out for the Red Army and took a survey of the route to be followed by the Red Army in its long march. “We have trodden green mountains without growing old, what scenery unique here we behold”. They climbed mountains and paddled over rivers on the way to Huichang from Ruijin, which could be said “we have trodden green mountains” and indicated there are many troubles and difficulties on the revolutionary way. However, things changed suddenly in the following part of this poem and an unswerving revolutionist appeared. Though we can not see the poet’s face, we can also see that he keeps his preserving will and he is always confident of victory of the revolution, which is reflected by “what scenery unique here we behold”. Jade green and flourishing mountain in the summer mixed with his strong and optimistic spirit here, exhaling a strong revolutionary romantic odour by the image of “green mountains”. “Our warriors, pointing south, see Guangdong loom. In a richer green and lusher gloom”. At the end of this poem, readers can know that the poet see the good future of Chinese revolution through the bright and beautiful scenery of Guangdong loom. At the same time, he encouraged his soldiers to keep confidence because the victory was just ahead.
2. 3 Blending emptiness with solidity
Chinese traditional poetry attaches much importance to the combination of emptiness with solidity. Then the beautiful sense is produced when they reflect each other. Mao Tse-tung followed the rule to compose his poetry and developed it at the same time. Therefore, his poetry is of special aesthetic value with rich connotations and unique flavor. Here, the author takes Place of Big Cypress Tune: “Buddhist Dancers” for example. “Red, orange, yellow, green, blue, indigo, violet, who’s dancing with a colored band in the sky fire–lit?” the static rainbow actually existing becomes a dynamic colorful ribbon dancing in the sky under his pen. It is very natural, vivid and exact, full of dynamic beauty. In this way, the image of “rainbow” is endowed with personal charm through the poet’s reasonable imagination. “A furious battle raged then on this spot, the village walls are still riddled with shot.” is a description of actual scenery and also a kind of “Xing”, which is the independence and creative combination of the images in the poetic technique of free association. [6] That is to say, when the poet saw the vestige of the current battle in the Place of Big Cypress he associated to use the victory of people’s war to decorate the mountain pass. Consequently, the mountain pass looked more beautiful. This can be seen from his verse “dotted today with these traces of war, the mountain pass looks fairer than before”. “The village walls are still riddled with shot”, “riddled with shot” is the evidence of that battle in actual existence and it is also the symbol of people’s war that the poet praised at the same time. People’s joy after their liberation by the revolutionary war was contained in the image of “riddled with shot” by the poet. Here, “riddle” can be explained as the noun of “hole” and can be understood as a verb of “dig a hole” as well. It is not only an objective thing but also an emotional symbol full of connotations. The independence and creative combination of the images in the poetic technique of free association of “Xing”, forming the relations between emptiness and solidity, is the prerequisite for the birth of the meaningful realm as well as the secret of how the poem contains infinite implications beyond denotations of diction. Accordingly, when we translate images of such kind of poetry, we must realize and examine their roles in sentences, thoughts and emotions in order to make our translation more accurate and elegant.
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