中英雙語話中國歷史名人 第65期:郭沫若

Guo Moruo (1892~1978), originally named Guo Kaizhen, literary name Shangwu, alias Dingtang, was born in Leshan of Sichuan Province.

郭沫若(1892~1978),原名郭開貞，號尚武，別號鼎堂，四川樂山人。

He was the representative poet and playwright of chronicle play of the great May Fourth period of enlightenment, the prophet-poet of new China.

是現代文學史上足以代表一個時代的詩人與歷史劇作家，是魯迅熱切呼喚的摩羅詩人，新中國的預言詩人。

He was the Satanical poet whose appearance was fervently summoned by Lu Xun. His rebellious idiosyncrasy of being unrestricted and capricious, optimistic and progressive contributed to his writing style, which was vigorous and unconventional.

他的自由任性、放蕩不羈、樂觀向上的叛逆型人格特質，形成了他充滿青春活力、敢於標新立異、盡情張揚個性的創作風格。

His first poetry anthology The Goddess gave free rein to the powerful imagination through which he could transform things in the universe into poetic beings that served as animated objects of his emotional response. In expressing the desire to break out of the confines of feudalism, in voicing strong demands for social reform and in emitting boundless enthusiasm for the commendation and pursuit of high ideals. The Goddess distinctly reflected the characteristics of the May Fourth Movement. Indeed, in poetic terms it was the strongest voice of this period. An image was created with the passionate yearning for light and the pursuit of ideals. In the poem the outpourings of the heart and the rapid tempo of poetic melody fully demonstrated the poet's hurricane-like creative power at work. The Goddess was steeped in revolutionary romanticism. The poems, artistically characterized by their strong colors, passionate tone and quick tempo, amply revealed the poet's galloping imagination, boldness of expression and great powers of conception. By freeing himself from the fetters of the old poetry, Guo Moruo created a new world for the post-May Fourth freeverse. Its influence could not be overstated in paving the way for poets of the new poetry. The poetry of Guo Moruo with its overflowing revolutionary romanticism opened a new chapter in the history of modern Chinese poetry.

郭沫若的第一本詩集《女神》，以汪洋恣肆、雄奇瑰麗的想象力，創造了一個熱烈地追求精神自由和個性解放的白我抒情的主人公形象;詩化了五四狂飆突進的時代精神，以嶄新的內容和形式，開一代詩風，堪稱中國現代新詩的奠基之作。

His achievement in the writing of historical plays was outstanding. The representative works included Qu Yuan, Zhuo Wenjun, Wang Zhaojun, The Tiger Tally, The Gall Bladder of the Peacock, The Twin Flowers, etc, in which he "used the past to explain the present".

郭沫若的歷史劇創作之早、數量之多、質量之高、影響之大，幾乎無人與之匹敵，代表作有《屈原》、《卓文君》、《王昭君》、《虎符》、《孔雀膽》、《棠棣之花》等。

He grasped the essence of history and, in accordance with the laws of art and the development of plot, incorporated his own hopes and ideals in what he wrote. Boldly he experimented, aiming to achieve "resemblance through omission of certain facts".

他創作歷史劇的動機是“古爲今用”，借古喻今、諷今，本着“失事求似”的原則對歷史進行合理的藝術虛構，表現出崇高的悲劇美。

His historical dramas had sublime tragic beauty, incisive historical opinions and passionate personal emotions, which reflected his strong sense of social responsibility and political participation.

他的歷史劇含有精闢的史識與強烈的主觀抒情色彩，具有明顯的指導性和戰鬥性，體現了作者強烈的社會責任感和政治參與意識。

In addition, Guo Moruo's achievements in the study of history, archaeology and paleography were also most impressive.

另外，郭沫若在歷史學、考古學和佔文字學方面的研究，也具有當時一流的水平。