[Speaker] Wang Jianxin, Professor and Vice President of China Jinggangshan Cadre College
[Lecture topic] Comprehending the art and realm of Mao Zedong's revision of poetry
[Main contents]
1、 What aspects did Mao Zedong modify his poems
2、 How Mao Zedong Revises Poetry
3、 What enlightenment can we get from Mao Zedong's revision of poems
[Full text of the lecture]
Hello, everyone. On November 8, 2017, People's Daily Online opened the "Wang Jianxin Column" in the expert column, which provides a platform for me to communicate with netizens, and also enables me to focus on displaying my research experience on Mao Zedong's poetry. It will be a year in a twinkling of an eye. First of all, I would like to thank People's Daily Online and the vast number of netizens for their support and love for me.
Mao Zedong is a great Marxist, a great proletarian revolutionist, strategist and theorist, and a great poet who leads the way. Mao Zedong, with his pen like a rafter, wrote down the immortal magnificent chapter of manoeuvring, which is an artistic peak in the Chinese poetry world.
The number of Mao Zedong's poems is not very large. After careful comparison and analysis of Mao Zedong's poems, it is not difficult to find that most of his works have been modified many times. From the title of the work, individual words, the whole poem, to the structure of the text, and even punctuation marks, he changed again and again. This makes Mao Zedong's poems precise, neat and full of charm, and become a masterpiece through the ages.
Today, I want to sort out Mao Zedong's revision of poetry. Three questions are mainly discussed: First, in which aspects Mao Zedong modified his poems; Second, how Mao Zedong modified his poems; The third is what we can learn from it.
Wang Jianxin, professor and vice president of China Jinggangshan Cadre College, visited People's Daily Online (photographed by Cao Miao)
Mao Zedong Revises Poetry from Nine Aspects
Let me start with the first question: In what ways did Mao Zedong revise his poems?
Mao Zedong modified his poems in two ways, one is to modify the works of others, the other is to modify his own works. In some books on Mao Zedong's appreciation of poetry, works modified by other people's works have been included. For example, in 1910, when Mao Zedong left Shaoshan for school, he wrote "Seven Wonders to Be a Father": "If a child is determined to go out of his hometown, he will never return if he fails to become famous. There is no need to bury his bones, and life is full of green mountains everywhere." This poem was written by Japanese Xixiang Longsheng and Japanese monks monthly. Mao Zedong changed the "boy" in the original poem to "child", and changed the "death is not returned" Change to "swear not to return". To be exact, this is not his work.
Mao Zedong's revision of his works is mainly reflected in the following aspects:
The first is the change of theme. The content of Niannujiao Kunlun is implicit and hard to understand. There is one sentence: "One part is left to Europe, one part is given to the United States, and the other part is left to China." In December 1958, he said to himself, "Kunlun: the theme is to oppose imperialism, not anything else. Change the sentence:" One part is left to China, and the other part is returned to the East. It is wrong to forget about the Japanese. In this way, Britain, the United States, and Japan are involved. Other interpretations are unrealistic. "Since then, People's understanding of the word tends to be consistent. When Mao Zedong gave away the Kunlun Mountain, he also thought of the Japanese people, showing a broad mind. This change makes the theme of the work suddenly sublimate, giving a new and profound connotation.
The second is the revision of the title of the work. The title of poetry is the eye of poetry, which plays the role of finishing touch. The titles of some of Mao Zedong's works have changed several times. After modification, the theme of the work is more prominent and clear. For example, Niannujiao Kunlun was once called Niannujiao Climbing Minshan Mountain. The original title of "Shui Diao Ge Tou, Swimming" was "Shui Diao Ge Tou, Changjiang River". Butterfly in Love with Flowers - Answering Li Shuyi was first "Youxian", then "Youxian - To Li Shuyi", and finally changed to "Butterfly in Love with Flowers - Answering Li Shuyi".
Third, the writing time is clear. In 1957, when Poetry Magazine published 18 works of Mao Zedong, and when People's Literature published Mao Zedong's Six Ci Poems on May, 1962, almost no writing time was specified. When Chairman Mao's Poems was published in 1963, Mao Zedong seriously solved this problem and marked the creation time of each work. For example, "Qinyuan Spring · Changsha" was "1925", "Bodhisattva Man · Yellow Crane Tower" was "1927 spring", "Xijiangyue · Jinggangshan" was "1928 autumn", and "Qinyuan Spring · Snow" was "February 1936". This will help readers accurately grasp the historical background and profound meaning of the works.
The fourth is the deletion of the preface. The original preface of Qilu Climbing Lushan: "On June 29, 1959, climbing Lushan Mountain, looking at Poyang Lake and Yangtze River, thousands of mountains are competing for beauty, red sun is rising, and eight lines of poetry are formed." Such words, although they explain the process of writing poetry, do not help to grasp the artistic conception of the work, but limit the imagination of readers. Mao Zedong deleted this sentence when his work was published.
Fifth, the adjustment of the work structure. The original manuscript of "Mulberry Picking · Chongyang" is: "The annual autumn wind is stronger than the spring light. It is better than the spring light. It is a vast expanse of frost in the sky. Life is easy to grow old, but it is difficult to grow old, and the sun is renewed every year. Today, the sun is renewed again, and the yellow flowers in the war field are particularly fragrant." When the work was published, Mao Zedong switched the order of the first and second parts, turning them upside down. After adjustment, the work starts from the discussion, and the poetic sense is abrupt and straight, which brings the readers into the deep thought of the intended expression of the work; Ending with scenery can trigger readers' reverie, and make them have endless charm.
The sixth is the transformation of the whole poem. In different handwriting of Mao Zedong's poetry works, some sentences have changed greatly, some belong to the adjustment and deepening of the text content, and some are the complete changes of the meaning of poetry.
In Memories of Qin E · Loushan Pass, the sentence "The wild geese in the sky call the frost morning moon" is modified from the "Yellow Flower Festival under the plane tree". In the last sentence of "Seven Rhymes to Shaoshan", "Heroes all over the place are setting in the sunset", there were two versions of "people all over the place have lived for a million years" and "people are more prominent than the past". Another example is the sentence of "singing birds and dancing birds everywhere, and flowing water" in Shuidiao Tou · Going Back to Jinggangshan Mountain. It turns out that "when you are a virgin, red women and green women, there is more fly induced electricity". Obviously, the revised sentence is more vivid and full of charm.
Seventh, the perfection of individual words. In the sentence of Xijiang Moon Autumn Harvest Uprising, "Do not stop in Kuanglu area, but go straight to Xiaoxiang", the original work of "Kuanglu", "copper repair", refers to Xiushui and copper drums in Jiangxi Province, and the original work of "Xiaoxiang", "Pingliu", refers to Pingjiang and Liuyang in Hunan Province. Both are county names, which are too realistic. After the modification, the place names are represented by famous mountains and rivers, which is more poetic and picturesque.
The "high road" in the "high road into the cloud" in Shuidiao Tou · Back to Jinggangshan "is the" tall tree "in the original manuscript. Trees grow naturally and roads are built artificially. The change from "tall trees" to "tall roads" echoes the previous sentence "old looks change into new looks", which directly shows the great changes after "thirty-eight years", and is more consistent with the author's subjective feelings of returning to Jinggangshan.
Eight is the correction of individual typos. When "Bodhisattva Man · Yellow Crane Tower" was first published, the word "sprinkling" in "sprinkling wine" was written as "Zhou". "Zhou" is a noun, which refers to the wine that has been brewed twice or more times. "Zhou" is illogical, which is obviously a clerical error of the word "sprinkling". "Sprinkle" is a verb, which means to sprinkle wine on the ground to offer sacrifices and swear an oath. The word "sprinkle" in Su Dongpo's "Niannujiao · Chibi Nostalgia" sentence "sprinkle Jiangyue with a bottle" means this. Only by changing "Zhou" to "sprinkling" can it conform to the syntax and accurately express the state of mind of mourning the revolutionary martyrs.
The word "Ficus pumila" in "The Last Sage of Ficus pumila People in Thousands of Villages" in Two Seven Laws · Send Away to the God of Plague was written as "Ficus pumila" in the original manuscript. Ficus pumila is a kind of vine, but "Ficus pumila" cannot be matched with each other, and its meaning is ambiguous. After modification, it means that there are many weeds, so the problem can be solved easily.
The ninth is the change of punctuation marks. When Poetry Magazine published Bodhisattva Man · Yellow Crane Tower in 1957, the second part was "Yellow Crane knows where to go, and there is still a place for tourists. Sprinkle wine with torrents, and the mood rises." In Chairman Mao's Poems published in 1963, it was changed to "Where does Yellow Crane know where to go? There is still a place for tourists. Sprinkle wine with torrents, and the mood rises!" The comma of the previous sentence was changed to a question mark, It highlights the confused and confused mood of "on the eve of the failure of the Great Revolution, I feel bleak and don't know what to do". The full stop at the end of the last sentence has been changed to an exclamation point, which is more positive in tone, more intense in emotion and more determined in attitude, and better reflects Mao Zedong's emotional state of mind.
There is a comma in the middle of the sentence "A bridge flies over the north and south chasms to become a thoroughfare" in Water Melody Head Swimming, and its position has moved several times. Sometimes it is "a bridge flying over a bridge, and the north and south scarps become a thoroughfare"; Sometimes it is "a bridge flies from north to south, and a chasm becomes a thoroughfare". After repeated weighing, it was determined as "a bridge flies from north to south, and the chasm becomes a thoroughfare".
I think over and over again to revise it, and I feel at ease after a thousand changes
Now let me turn to the second question: How did Mao Zedong revise his poems?
Mao Zedong revised his poems in a complicated way. Some do it at will, and some do it deliberately; Some of them were modified by themselves, some were polished by experts, and some were improved by taking readers' suggestions.
First, it was not deliberately modified, and it was unintentional.
The rich changes in the words and sentences of Mao Zedong's poems are reflected in his handwriting. Many of his works have handwriting, and some still have many handwriting. For example, "Qilu · To Shaoshan" has two handwriting; "Greeting the Groom, Farewell to Friends" has three manuscripts; "Water Melody Head - Swimming" has four handwriting; "Niannujiao Kunlun" has five manuscripts; "Qinyuan Spring · Changsha" has six manuscripts; There are ten manuscripts in Qinyuan Spring Snow.
These handwriting were written for different people in different times, places and moods for different purposes. He did not copy every word from the poetry anthology, but by memory and impression. In addition, when he wrote poems, the situation has changed, and the sense of writing and ideological understanding may have undergone subtle changes. It is reasonable that there are differences in writing.
For example, in "Qinyuan Spring · Changsha", the words "dye every forest" are written as "dye every mountain", and the words "hit the middle stream" are written as "hit the middle stream"; In the Qilu · Long March, the words "thousands of rivers and thousands of mountains are waiting for leisure" were written as "thousands of rivers and thousands of mountains are waiting for leisure", the words "more like thousands of miles of snow in Minshan" were written as "most like thousands of miles of snow in Minshan", and the words "too much complaining to prevent heartbreak" were written as "too much complaining to prevent heartbreak" in the Qilu · Mr. Liu Yazi; wait. These words are relatively close, and there is no substantial change in the meaning of the poem.
Sometimes, the verse changes a lot. For example, in "Greeting the Groom and Farewell to Friends", the sentence "When someone is ill, heaven knows whether he is ill" is written in some handwriting as "Never remember: the place leaning against the building", and some handwriting as "heavy emotion, tears like rain". For another example, Manjianghong and Comrade Guo Moruo wrote that "the revolutionary spirit is everywhere, and workers and peasants are eager to draw long halberds" in the second and third handwriting, and "the revolutionary spirit is everywhere, and workers and peasants are eager to wield long halberds" in the fourth handwriting. This may also be related to the fact that the work has not been completely finalized.
Second, I think it over and over again, and I feel at ease after a thousand changes.
At the end of 1956, the Chinese Writers' Association was appointed to organize the Poetry Magazine. Xu Chi and others collected eight poems of Mao Zedong that were circulated in the society. The editorial board specially wrote to Mao Zedong: "Because they have not been published in public, the masses copied each other, which led to quite different sentences. Some comrades suggested that we should ask the author for permission to publish a final draft if we want these poems to be circulated." Mao Zedong attached great importance to this and corrected his works one by one. He also provided ten other works and replied, "Since you think you can publish them and correct the wrong words for the several copies that have been copied, then you should follow your advice."
In 1963, at the approaching of his 70th birthday, Mao Zedong gathered his relatively satisfactory works. In addition to 21 poems that had been published, he added 6 words published on May 1962 in People's Literature, and added 10 works that had never been published. He devoted a lot of effort to make a comprehensive revision of these poems. This is Chairman Mao's Thirty seven Poems published by the People's Literature Press in 1963.
According to Wu Xujun, from March 1963 to the winter of 1973, Mao Zedong reviewed all the poems several times and revised some poems many times. Wu Xujun kept a record of all the revisions. After the sentence was finalized, Mao Zedong wrote it in his own hand and asked her to burn the revision record. In the winter of 1973, he asked Wu Xujun to copy all the poems. Mao Zedong checked again. Such repetition shows that Mao Zedong attached great importance to the revision of his works.
Third, sincerely invite experts to correct the situation, and gather flowers to make honey.
Mao Zedong did not revise his poems behind closed doors, but by pooling his wisdom. Before the publication of Chairman Mao's Thirty seven Poems in 1963, some books for comments were printed. On New Year's Day in 1964, Mao Zedong entrusted Tian Jiaying to invite Zhu De, Deng Xiaoping, Peng Zhen and other leading comrades of the Central Committee, as well as Guo Moruo, Zang Kejia and other poets, to hold a forum for soliciting opinions. On the conference table, there were several notes written by Mao Zedong, one of which said: "Please discuss what I have written." Zang Kejia gave Tian Jiaying 23 suggestions prepared in advance. After the poetry collection was published, Zang Kejia found that Mao Zedong had adopted his 13 opinions.
The sentence "Jumping onto the verdant four hundred turns" in "Qilu · Climbing Lushan Mountain" was originally "Wanting to meander four hundred turns". Guo Moruo thought that "the four words' Wanting to meander 'seemed to have a sense of hesitation when reading it, and it was supposed to be' Tangdao winding '". The phrase "hot wind blows rain and sprinkles the sky" was originally "hot wind blows rain and sprinkles the sky". Guo Moruo "felt that it was not in harmony with the previous sentence," Look at the world with cold eyes ". If it was changed to" throw rain and sprinkle mountains and rivers with enthusiasm "to express the Great Leap Forward, it seemed clear." The later final draft obviously referred to Guo Moruo's opinion.
The word "wax" in "Yuanchi Wax Elephant" in "Qinyuan Spring Snow" was originally the word "wax" of wintersweet. Zang Kejia suggested: "If it is easier to write the word 'wax', 'wax elephant' can be mirrored with the 'silver snake' above." Mao Zedong nodded and said, "OK, then you can change it for me." This change has become more vivid and poetic. For another example, the word "curse" in "Don't dream and curse the passing of the river" in Qilu · To Shaoshan "was originally the word" cry ", which was changed according to the opinion of Mei Bai, the deputy secretary general of the CPC Hubei Provincial Committee and writer. Mao Zedong also said to him, "You are my 'half word teacher'."
Fourth, take the reader's suggestions and listen to the sound of streams flowing.
The Seven Rhymes · Long March used to be "Five Ridges Weiyi Tengxi Waves" and "Jinsha Waves Beat Cloud Cliff Warm". On New Year's Day in 1952, Professor Luo Yuanzhen from the Department of History of Shanxi University wrote to Mao Zedong, suggesting that the "wave" should be changed into "water". On December 21, 1958, Mao Zedong annotated on the brow of Chairman Mao's Nineteen Poems: "Water clapping: change wave clapping. This was suggested by an unknown friend. He said: it is OK not to have two waves in one article."
At the beginning of 1957, after the publication of 18 poems by Mao Zedong in the Poetry Journal, Chen Zhi, a student of Fudan University, the principal of a primary school in Tai County, Jiangsu Province, and a reader in Nanping County, Fujian Province, wrote a letter to Mao Zedong, pointing out that the word "Zhou" in "Zhujiu Zhuo Tao Tao Tao" in "Bodhisattva Man · Yellow Crane Tower" was a wrong character, and the word "sprinkle" should be used. After reading it, Mao Zedong asked the Secretariat of the General Office of the Central Committee to write back to them, telling them that their suggestions were correct.
Don't rely on talent and arrogance, be open-minded and learn from others
Now, let me turn to the third question: what can we learn from Mao Zedong's revision of poetry?
Understanding the context of Mao Zedong's revision of poetry will help us better understand the improvement process and profound connotation of Mao Zedong's poetry, better grasp the internal reasons for the success of Mao Zedong's poetry creation, and especially help us to understand and learn from Mao Zedong's meticulous creative spirit, open minded learning attitude and perfect artistic pursuit.
First, Mao Zedong kept improving his works, never perfunctory, but changed again and again, striving for perfection.
The story of Jia Dao, a poet of the Tang Dynasty, between "monk pushing the door under the moon" and "monk knocking at the door under the moon", which is constantly pondering and persevering, is widely spread and has far-reaching influence. It is just a microcosm of the rigorous and serious creative spirit of the literati in the past dynasties.
Good poetry is written and also modified. Of course, it's great to be able to speak out in a coherent manner. But most of the best poems are polished repeatedly. Du Fu's Twelve Poems to Relieve the Sorrow said: "Cultivate the spirit and preserve the foundation, and the new poetry should stop singing long." His "A Brief Talk on the River's Value of Water like the Sea" wrote: "It is not surprising to die because of the seclusion of human nature." Yuan Mei, a poet of the Qing Dynasty, also wrote such a poem in his "Revival" as "It is difficult to write the origin of hobbies, and a thousand changes in a poem can only lead to peace of mind". Li Yi in the Qing Dynasty said more clearly in his "Autumn Star Pavilion Poetry": "It is better to write poetry safely? If you can change it, then flaws can be jade, and rubble can be beads and jade." These are the experiences of scholars of all dynasties.
Mao Zedong has inherited the fine tradition of pondering over poems written by poets of all ages. He has a famous saying: "The fear in the world is to be 'serious', and the Communist Party is the most serious." Seriousness is an attitude, a spirit, and a style of work. Mao Zedong took his poems seriously and seriously. He never wrote poetry for the sake of writing poetry, but regarded it as a true portrayal of values, political ambitions, struggling life and the times. He will never publish works that he is dissatisfied with; For works that have been published, we should change them again and again, carefully choose the words, keep improving, be responsible for art, for ourselves, for readers, and for history.
Mao Zedong was well aware of the difficulties of poetry creation: "Poetry is difficult and difficult to write, and the experienced people are like fish drinking water. It is not enough for the outside world to know how cold and warm they are." On November 4, 1963, he said: "Some poems can't be used, and there are few poems that need to be modified, articles and poems written without modification. Why should they be modified? Even write from scratch? It is because the words are incorrect, or the thought is good, but the words are not good... I want to revise them, and sometimes I have to ask for other people's opinions. If other people have different opinions, I will think about it. " In 1958, he said to Mei Bai, "If you want to change poetry, you should not only ask someone to change it, but also change it mainly by yourself. After a period of time, you can think about it, and then change it again, it may be better. This is the benefit of the so-called 'deliberation'."
Second, Mao Zedong's comments on his poems were very low-key, never conceited, but constantly improved.
In October 1937, Edgar Snow's "Red Star Shines on China" was published in London, and the book included the poem "Seven Rhymes · Long March". In February 1938, the Chinese translation of the book, "Random Journey to the West", was published in Shanghai. "Seven Rhymes · Long March" was the first publicly published poem of Mao Zedong. Since then, Mao Zedong's poet talent has been famous all over the world.
Mao Zedong's achievements in poetry are universally recognized, and the praise he received can be said to be the highest. After reading Qinyuan Spring · Snow, Liu Yazi applauded the table and said, "Mao Runzhi's Qinyuan Spring is a masterpiece, and I pushed it to be a masterpiece for thousands of years. Although Dongpo and You'an are still behind, they are still astonished, not to mention Xiaoling in the Southern Tang Dynasty and Slow Ci in the Southern Song Dynasty." Guo Moruo's evaluation of Mao Zedong is that "there is more poetry than economy, and there are more things to do.". Marshal poet Chen Yi also highly praised Mao Zedong's poetic talent with the words of "great powers push their allies".
But Mao Zedong himself kept a low profile. On January 31, 1939, Mao Zedong wrote in his letter to Lu She: "I am a layman and can't express my opinions in fragments when I ask for my opinions on poetry; Moreover, there is not much poetic flavor and no special features. "
On July 1, 1958, in a letter to Hu Qiaomu, he said, "I couldn't sleep and wrote two propaganda poems to fight schistosomiasis. Please consult with the comrades in the literature and art group of the People's Daily to see if it is available. If there is any change, please let me know." On July 21, 1965, Mao Zedong wrote to Chen Yi and said, "You asked me to change my poem, but I can't because I have never learned the five character rule, nor have I published a five character rule... I have occasionally written several seven character rules, and none of them is satisfactory to me. Just like you can write free verse, I know a little about long and short sentences. Sword heroes are good at seven laws, and Dong Laoshan is good at five laws. If you want to learn regular poetry, you can ask them for advice. "
There is a line in Zhang Jiuling, a poet of the Tang Dynasty, in his Ode to the Imperial Bamboo with Lu Shi of the Yellow Gate, which says: "People of high moral integrity value each other and are modest about what the world knows." It is precisely because Mao Zedong has always kept a low profile in posture, mentality, behavior, and speech, never boasted, never complacent, that he can look at his works so calmly, so unremittingly refining words and meaning, which can be said to be a thousand times tempered. This is a kind of creative attitude with endless art, but also a kind of personality spirit of self cultivation.
Third, Mao Zedong treated his poetry friends with great respect. He never relied on talents and arrogance, but was open-minded and learned from others' strengths.
Mao Zedong has a close relationship with many famous poets, such as Liu Yazi, Huang Yanpei, Guo Moruo, Zang Kejia, etc. They are all famous literati poets. Liu Yazi is arrogant, but he is also convinced of Mao Zedong. In the face of "Qinyuan Spring · Snow", he sincerely sighed: "Yu's poetry is arrogant, and he does not hide his arrogance. He is skilful and imitative, and looks at it to run it. It is inferior, and he is ashamed of Khan."
Mao Zedong always communicated with his poetry friends on an equal footing with an open mind and learned poetry skills. Liu Yazi, Huang Yanpei and others would send new works to Mao Zedong, and Mao Zedong would return them with poems. In their replies, we often see such modest words as "record, submit, review and correct". Huang Yanpei is 15 years older than Mao Zedong. Mao Zedong's letter always begins with the honorific title of "Mr. Ren" and "Huang Ren Lao". Mao Zedong and Liu Yazi also exchanged letters, sometimes raising their heads and calling them "Brother Yazi", and signing them "Mao Zedong".
At the end of June and the beginning of July 1959, Mao Zedong wrote "Seven Laws: Arriving at Shaoshan" and "Seven Laws: Climbing Lushan". On September 7, 1959, he wrote to Hu Qiaomu: "Two poems, please send them to Comrade Guo Moruo to see if there is anything wrong with them. It is important to write them." Guo Moruo wrote to Hu Qiaomu on September 9 and 10 to feedback his opinions and suggestions. On September 13, Mao Zedong wrote to Hu Qiaomu again, saying: "Comrade Moruo read both letters, which inspired me. The two poems have changed a little bit of words. Please send Guo Moruo again, and ask him to review and revise them again. I hope his opinions will tell me!"
On April 24, 1962, in a letter to Zang Kejia, Mao Zedong said: "You have carefully revised a few things for me, and I fully agree with them. If there is anything that can be changed, please take care to give your advice." On September 25, 1965, Mao Zedong sent Deng Yingchao the Water Melody Head · Back to Jinggangshan, Niannujiao · Bird Answers, and attached a letter saying: "Please send them for advice. If anything is wrong, please change your pain to hope! "
Mao Zedong solicited opinions from his poetry friends. His attitude was modest and his words were sincere. It was really awe inspiring! If you are complacent, you will lose. If you are modest, you will benefit. Poets were sincerely infected by him and put forward their own suggestions without reservation. The expert reaches out his hand and knows whether there is one. It is undeniable that their valuable opinions have also added a lot of luster to Mao Zedong's poetry.
Fourth, Mao Zedong was approachable to the readers, never pressing others with the force, but he was pleased when he heard of it, and always gave advice.
People love Mao Zedong's poems, which have both literary and artistic elements and social psychological factors. He is a leader of the Party and the state, and a great leader of the Chinese people. Ordinary readers find that Mao Zedong's poems are flawed, and it requires not only knowledge but also courage to put forward suggestions for revision and even point out the wrong words. This situation is unimaginable in ancient Chinese society.
This phenomenon fully reflects Mao Zedong's broad mind and feelings for the people. Mao Zedong pointed out that "the masses are real heroes, while we ourselves are often childish and ridiculous. If we do not understand this, we cannot get the minimum knowledge." The concrete expression of his views on the masses in poetry creation is that we always have readers in our hearts. Mao Zedong said: "When writing articles, don't always think about 'how smart I am', but adopt an attitude of full equality with readers." It is this attitude of equality that enables Mao Zedong to seriously take and absorb readers' suggestions. This valuable spirit is especially worthy of our good study and learning forever.
Well, I'll talk about that today. Thank you for your attention. The above is purely a personal point of view. If there is anything improper, please criticize and correct it. bye!
