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Mao Zedong, leader of the revolution and absolute chairman of the People's Republic of China, was also a calligrapher and a poet of extraordinary grace and eloquent simplicity. The poems in this beautiful edition (from the 1963 Beijing edition), translated and introduced by Willis Barnstone, are expressions of decades of struggle, the painful loss of his first wife, his hope for a new China, and his ultimate victory over the Nationalist forces. Willis Barnstone's introduction, his short biography of Mao and brief history of the revolution, and his notes on Chinese versification all combine to enrich the Western reader's understanding of Mao's poetry.
Mao Zedong (1893-1976), the first Chairman of the Communist Party of China and leader of the People's Republic of China for nearly 30 years, wrote poetry, starting in the 1920s, during the Red Army's epic retreat during the Long March of 1934-1936, and after coming to power in 1949. In spite of Mao's political radicalism he was artistically conservative, opting to use traditional Chinese forms.Like most Chinese intellectuals of his generation, Mao immersed himself in Chinese classical literature. His style was deeply influenced by the "Three Lis" of the Tang Dynasty: poets Li Bai, Li Shangyin, and Li He. He is considered to be a romantic poet, in contrast to the realist poets represented by Du Fu.Mao's poems are frequently quoted in popular culture, literature and daily conversations. Some of his most well-known poems are "Changsha" (1925), "The Double Ninth" (1929.10), "Loushan Pass" (1935), "The Long March" (1935), "Snow" (1936.02), "The PLA Captures Nanjing" (1949.04), "Reply to Li Shuyi" (1957.05.11), and "Ode to the Plum Blossom" (1961.12).CONTENTSPOEMS:CHANGSHAYELLOW CRANE TOWERCHINGKANGSHANTHE WARLORDS CLASHTHE DOUBLE NINTHON THE KUANGCHANG ROADNEW YEAR'S DAYMARCH FROM TINGCHOW TO CHANGSHAAGAINST THE FIRST "ENCIRCLEMENT" CAMPAIGNAGAINST THE SECOND "ENCIRCLEMENT" CAMPAIGNTapotiHUICHANGLOUSHAN PASSTHREE SHORT POEMSTHE LONG MARCHKUNLUNMOUNT LIUPANSNOWTHE PEOPLE'S LIBERATION ARMY CAPTURES NANKINGREPLY TO MR. LIU YA-TZULIU YA-TZU'S POEM: MY THOUGHTS PRESENTED TO CHAIRMAN MAOREPLY TO MR. LIU YA-TZULIU YA-TZU'S POEMPEITAIHOSWIMMINGREPLY TO LI SHU-YIFAREWELL TO THE GOD OF PLAGUESHAOSHAN REVISITEDASCENT OF LUSHANMILITIA WOMENINSCRIPTION ON A PHOTOGRAPHREPLY TO A FRIENDTHE FAIRY CAVE INSCRIPTION ON A PICTURE TAKEN BY COMRADE LI CHINREPLY TO COMRADE KUO MO-JOINSCRIPTION ON A PICTURE TAKEN BY COMRADE LI CHINKUO MO-JO'S POEM: ON SEEING THE MONKEY SUBDUES THE DEMONODE TO THE PLUM BLOSSOMLU YU'S POEM:ODE TO THE PLUM BLOSSOMWINTER CLOUDSREPLY TO COMRADE KUO MO-JOKUO MO-JO'S POEMREASCENDING CHINGKANGSHANTWO BIRDS: A DIALOGUEILLUSTRATIONS:Illustration 1 Mao, ca. 1910Illustration 2 Mao, ca. 1920Illustration 3 Portrait in Wuhan 1927Illustration 4 In northern Shensi 1936Illustration 5 With eldest son Anying at the Fragrant Hills 1949Illustration 6. Delivering report at Second Plenary of the Central Committee of the CPC 1949Illustration 7. At Chingkangshan 1965Illustration 8. At the Eleventh Plenary Session of the Eighth Central Committee of the Communist Party of China 1966Illustration 9. Reviewing the army of the great Proletarian Cultural Revolution from Tien An Men Gate August 18, 1966Illustration 10. Mao working in a rice fieldIllustration 11. "Chairman Mao in his Study" (woodcut by Chang-Chiang) date unknownIllustration 12. "The Red Flag Round the Serf, Halberd in Hand" (traditional painting) date unknown
Mao Zedong as Poet and Revolutionary Leader by Chunhou Zhang,C. Edwin Vaughan Pdf
Mao Zedong was not only a great strategist and politician, but also a poet, a philosopher, and calligrapher. As early as the 1940s Mao's poetry was earning critical and popular acclaim. This book makes all of Mao's extant poems available for the first time in English.
Dragon in Ambush by Jeremy Ingallsis a critique and new translation of the first twenty poems of Mao Zedong’s published poetry. This seminal work stands out from previous translations of Mao’s poems in seeing them as an expression of his core political beliefs, rather than for their poetic effect. Instead, Dr. Ingalls shows in consummate detail that Mao was careful and deliberate in employing imagery in his poetry to lay out procedures for political supremacy in which the central drive was his will to psychological domination. That is, domination of the minds of others is the unifying theme of Mao’s verse-sequence. The crux of Prof. Ingalls’ work lies in her focus on the symbolism in the poems. The poems are, in Mao’s use of them as a means of communication, meaningless on their surface. No image, however seemingly commonplace, is ever employed for merely lyrical or aesthetic description. Every image functions as a factor in an entirely political calculus. According to Dr. Ingalls, “When Mao mentions streams or mountains, suns or moons, clouds or winds or icicles, horses, elephants, snakes, tigers, leopards or bears, specifies kinds of trees or birds or fish, flies, brooms, mats or bridges, these and all his other images have, as their primary function, neither happenstance descriptions nor whimsical metaphor. They all have politically symbolic functions in Mao’s algebra of versified political discourse.” Furthermore, in her analysis, Prof. Ingalls downplays the significance of Marxism-Leninism in the Thought of Mao Zedong. She shows that throughout his career, Mao regarded Marxism-Leninism as a political convenience, not as a doctrine permanently essential to his master-plan. Just as Mao used the Nationalists of Chiang Kai-shek and Stalin’s Soviet Union as means to further his own political ambitions, so did he manipulate Marxist-Leninist ideology to hoodwink and attract, at home and abroad, professional revolutionaries to help do his bidding. Mao’s aims express, in their worldviews, an entirely Chinese tradition. In his poems Mao’s dialectics, his materialism, and his authoritarianism all take their points of reference from within the Chinese cultural order. Dragon in Ambush is a thoroughly unique and revolutionary approach to understanding the Mind of Mao Zedong.
Gathers the poetry of the late Chinese leader, discusses the background of each poem, and looks at how he combined traditional forms with revolutionary themes.
