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立在地球边上放号

Shouting from the Edge of the Earth

郭沫若

Guo Moruo

名篇Masterpiece 女神The Goddess 浪漫主义Romanticism 自然Nature

无数的白云正在空中怒涌，啊啊！
好幅壮丽的北冰洋的情景哟！
无限的太平洋提起他全身的力量来要把地球推倒。

Countless white clouds are surging in the sky in rage.
Ah! What a magnificent scene, this Arctic Ocean!
The endless Pacific heaves up its whole body, meaning to overturn the earth.

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Meaning

Standing at the edge of the earth and looking out, the poet sees white clouds boiling like a storm sea, and then imagines the Arctic Ocean and finally the Pacific, gathering all its strength to topple the planet. The ode belongs to The Goddess, Guo Moruo's 1921 collection, and is a hymn to force, to the destruction of the old order and the creation of a new one, in the voice of the May Fourth era.

无数的白云正在天空中翻涌怒吼，啊啊！多么壮丽的北冰洋的情景啊！无限的太平洋提起它全身的力量来，要把地球推倒。

Appreciation

[Plain Paraphrase] Countless white clouds are heaving upwards in fury. Ah - what a scene, this Arctic Ocean! - and then the endless Pacific gathers every ounce of its strength and means to overturn the earth.
[Structure] The poem is short and never breaks: one image after another, each larger than the last, with no stanza to slow it down.
[Imagery] Three verbs carry the poem, nu yong, ti qi, tui dao; each is stronger than the one before, and each turns something apparently still into something violent, till clouds that are only vapour become a storm and a sea becomes a giant with a will.
[Voice] A a and yo are not decoration but the poet's own voice breaking into the line, so that the poem is heard as well as read; meanwhile the scale grows from sky to ocean to planet, until the speaker is the only stable point at the rim of the world.
[Tone] This is the sublime: an overwhelming force imaged as the Pacific trying to overturn the earth. Behind it stands the May Fourth will to destroy, and behind that Whitman's loose, roaring line.

【白话串讲】郭沫若写《立在地球边上放号》：“无数的白云正在空中怒涌”——“无限的太平洋提起他全身的力量来要把地球推倒”——“啊啊！不断的毁坏，不断的创造”——他写破坏与创造的壮阔。【意象与手法】 “力的诗学”的三个层面：动词的动能化——以“怒涌”“提起”“推倒”三个动词为支柱，把静态景物全部转化为狂暴的运动；空间的宇宙化——视野由天空而海洋而环宇，层层放大直至囊括整个星球，达到宇宙的尺度；语调的呐喊化——直呼式的感叹与排山倒海的语调，是惠特曼式“自由奔放”诗风的直接体现。【情感与主旨】《女神》中“力的美学”的宣言书，也是中国现代浪漫主义诗歌的标杆之作，以宇宙的尺度、狂飙的力度、呐喊的语调写五四时代“破坏与创造”的精神。【名句点睛】常考“无限的太平洋提起他全身的力量来要把地球推倒”写“力”的极致，是《女神》泛神论“物我合一”观念的体现。

Background

Guo Moruo (1892-1978), born Guo Kaizhen in Leshan, Sichuan, is the founder of modern Chinese romantic poetry. He went to Japan in 1914 to study medicine, and there discovered Whitman's Leaves of Grass and the Germans, above all Goethe; the wild, primitive, intuitive verse of Whitman shaped his voice, and the pantheism of God is nature, nature is God came from Spinoza as he read him in Japanese. This poem was written in 1919, when the May Fourth movement was shaking China from the shore where he stood, and published in 1921 in The Goddess, the writing of which Guo Moruo himself called the period of the volcano. The collection opens with The Rebirth of the Goddess and moves through the same logic of destruction and rebirth.

《立在地球边上放号》作于1919年，收入郭沫若（1892—1978）的第一部诗集《女神》（1921年出版），是《女神》中气势最为磅礴的短诗之一。郭沫若，原名郭开贞，字鼎堂，四川乐山人，中国现代浪漫主义诗歌的奠基人。1914年赴日留学，就读于九州帝国大学医学部，留学期间大量接触惠特曼《草叶集》与歌德、雪莱等浪漫主义诗人，诗风深受惠特曼「野性的、原始的、直觉的」诗学影响。1919年，正值五四运动爆发，国内反帝反封建的浪潮风起云涌，郭沫若虽身在异邦，却感受到时代巨变的轰鸣，遂以「立在地球边上」的姿态，写下这首放号之作——「放号」即放声呼号，诗人以地球为立足点，以太平洋为视野，为自然的伟力与时代的变革纵情欢呼。《女神》全诗集浪漫主义抒情、泛神论思想与五四时代精神于一体，开篇《女神之再生》以凤凰涅槃喻民族新生，本篇则直接以自然的力写时代的力，是《女神》「力的美学」的宣言书；郭沫若自称《女神》时期是「火山爆发期」，此诗正是这火山喷发的第一声巨响。

Art

The poem works through three escalations. The first is kinetic: the verbs nu yong, ti qi and tui dao turn scenery that should be at rest into storm, so that nothing in the poem is still. The second is spatial: the eye moves from sky to Arctic ice to the whole Pacific and at last to the planet itself, so that the speaker stands at a point from which the earth can be seen as an object to be pushed, and the limitless is what makes the force credible. The third is vocal: a a and yo are exclamations set into the line, so the reader hears a shout while reading, and the final sentence runs on without a pause, as one wave follows another. The climax is a single image, the Pacific heaving its whole body to overturn the earth, in which the sea is anthropomorphized without ever ceasing to be a sea. This is the sublime in the Kantian sense: a force far larger than the self, before which the self falls silent.

《立在地球边上放号》节选的艺术成就，集中在「力的诗学」的三个层面：动词的动能化、空间的宇宙化、语调的呐喊化。其一，动词的动能化：全诗以「怒涌」「提起」「推倒」三个动词为支柱——「怒涌」写白云的翻腾，「提起」写太平洋的蓄力，「推倒」写地球的倾覆，动词一个比一个猛烈，把静态的景物全部转化为狂暴的运动，是惠特曼式「自由奔放」诗风的直接体现。其二，空间的宇宙化：诗人立在地球边上，视野由天空（白云）而海洋（北冰洋）而环宇（太平洋、地球），空间层层放大，直至囊括整个星球——「无限的太平洋」「要把地球推倒」，抒情主体的视野已超越国界、超越人界，达到宇宙的尺度，这正是《女神》泛神论「物我合一、宇宙一体」观念的空间化。其三，语调的呐喊化：「啊啊」的惊叹、「哟」的感叹词直接进入诗句，把抒情主体的激情不加节制地倾泻于字面，呼号之声仿佛穿透纸背；「好幅壮丽的北冰洋的情景」以赞叹句直抒胸臆，是浪漫主义「主观抒情」的极致——不是冷静地描写自然，而是狂热地与自然共鸣。其四，意象的崇高化：白云与北冰洋的相似联想（白云如冰洋翻涌）、太平洋推倒地球的夸张想象，使全诗充满「崇高」的美学特质——在康德、博克的美学中，崇高来自不可抗拒的巨大力量；郭沫若以太平洋推倒地球写崇高，正是五四时代「冲决罗网」精神的审美化身。

Allusions

The Pacific was a symbol before it was a scene: after the First World War the rivalry of the powers in the Pacific was a standing headline in the Chinese newspapers, and the Pacific Conference filled the pages of the May Fourth press. The endless Pacific heaving its whole body to overturn the earth therefore stands for the pressure under which a weak nation lived and for the counter-force that would break it. The Whitman connection is explicit in Guo Moruo's own account of The Goddess as an age of explosion; I am broad and vast, I contain multitudes is the ancestor of a speaker who stands at the edge of the planet. The gesture also revises the Chinese tradition: where the old custom was to climb high and compose, to look far and feel, as in Wang Can's rhapsody on the tower or Chen Ziang's weeping at Youzhou Terrace, Guo Moruo climbs to the rim of the world and shouts instead of weeping.

《立在地球边上放号》的意象与精神，深植于中国现代文化转型与中西浪漫主义文学的双重土壤。其一，「太平洋」的时代隐喻：1919年前后，「太平洋」在中国知识界是一个充满象征意味的地理名词——第一次世界大战后，列强在太平洋上的角逐牵动中国命运，「太平洋会议」成为五四时期报纸的常见标题；郭沫若写「无限的太平洋提起他全身的力量来要把地球推倒」，既是写实（太平洋的风暴）更是写意——太平洋的怒涛，正是被压迫民族冲决旧秩序的力量的象征。其二，惠特曼式的「野性诗学」：郭沫若自称《女神》时期是「受了惠特曼的影响」的「爆发期」，《草叶集》中「我辽阔广大，我包罗万象」的自我扩张、对大地海洋的野性礼赞，正是本篇「立在地球边上」的姿态与「怒涌」「推倒」的力感的精神源头；而「啊啊」「哟」的感叹，也近于惠特曼自由诗「以情绪的节拍为节奏」的体式。其三，「放号」传统的古今呼应：中国文学有「登高作赋」的传统——登高而望远，望远而生情，王粲《登楼赋》、陈子昂《登幽州台歌》皆以登高抒怀；郭沫若「立在地球边上放号」，把传统的「登高」放大为「立在地球边上」，把传统的「抒情」放大为「放号」，是中国抒情传统在宇宙尺度上的现代变异——其「前不见古人，后不见来者」的孤独，转化为「要把地球推倒」的狂飙。其四，泛神论的自然观：郭沫若留学日本期间深受斯宾诺莎泛神论影响，认为「神即自然，自然即神」，本篇中白云、太平洋、地球皆是有生命、有力度的存在，正是泛神论「自然皆神」观念的诗化呈现。

Commentary

The poem is the manifesto of the aesthetics of force in The Goddess and a landmark of Chinese romanticism. It marks the moment when Chinese poetry stopped writing small poems about ordinary things and began writing large ones: where Hu Shi's Trial Collection is plain and domestic, this poem is cosmic, loud and hallucinatory, and Zhu Ziqing's remark that what amazes one in The Goddess is not only its content but its form is usually read as being about precisely this. Read as history, the poem is the May Fourth spirit in its loudest register, destroy and create, and the figure of a citizen of the universe matches the generation's sense of itself as a world stage. It has stayed in school readers for a century and became the model that later revolutionary lyric verse followed.

《立在地球边上放号》是《女神》中「力的美学」的宣言书，也是中国现代浪漫主义诗歌的标杆之作。从诗歌史看，此诗标志着中国新诗由「小诗」向「大诗」的突破：胡适《尝试集》的诗多写日常琐事、语体平实，郭沫若则以宇宙的尺度、狂飙的力度、呐喊的语调写诗，把新诗从「白话化」推进到「抒情化、想象化」的新境界，故朱自清评《女神》「使人惊讶的，不但是它的内容，而且是它的形式」，本篇正是这一突破的极端样本。从思想史看，此诗是五四时代精神的诗化凝练：五四新文化运动高扬「民主与科学」，鼓吹「破坏与创造」，郭沫若以「怒涌的白云」「推倒地球的太平洋」写力的冲决，正是「冲决罗网」的时代激情在诗中的喷发；而其「立在地球边上」的宇宙公民姿态，也体现了五四知识分子「以世界为舞台」的开放胸襟，与「少年中国」的想象互为表里。从接受史看，本篇自《女神》问世即广为传诵，与《天狗》《凤凰涅槃》并列为《女神》最震撼的篇章，历代入选中小学语文教材，成为一代代中国人认识五四精神与新诗艺术的第一课；其「力」的美学——以宏伟的意象、奔放的语言、呐喊的语调抒情——也为后世革命浪漫主义诗歌（如贺敬之、郭小川的政治抒情诗）提供了范式，其影响贯穿整个20世纪中国新诗史。

Prosody

Form Free verse after the manner of The Goddess (romantic free verse with Whitman-length lines)自由体现代诗（《女神》浪漫主义自由诗，惠特曼式长句）

Rhyme No end rhyme. The sound comes from the rush of the long lines and from the clamour of the exclamations: yong, xiang, liang and dao all close on open, falling syllables, so that every line lands heavily. A a and yo break in like a horn; the lines keep running without a stop, as one wave follows another, and the rhythm is taken from the beat of feeling rather than from a metre.全诗不押尾韵，其音韵之美在长句的奔放与感叹词的呐喊。「怒涌」「情景」「力量」「推倒」等词以「涌、象、量、倒」的开口音与去声收束，音节雄壮而有力；「啊啊」「哟」等感叹词穿插句中，如号角声声，把情感的喷发直接灌注于声音；句式以长句为主，一气呵成，如太平洋的浪涛一浪高过一浪，自由诗「以情绪的节拍为节奏」的特征鲜明。

Tone pattern The opening line is steady and gathering; the exclamation bursts upward like thunder; the final long line turns from high to deep, like a breaking wave. The whole piece moves from collecting, to bursting, to settling, which is exactly the shape of a shout.句式以长句铺陈与感叹句穿插：首句「无数的白云正在空中怒涌」以陈述句起势，语调沉稳而蓄势；「啊啊！好幅壮丽的北冰洋的情景哟」以感叹句爆发，语调高亢激越，如惊雷炸响；末句「无限的太平洋提起他全身的力量来要把地球推倒」以长句收束，语调由高亢转向浑厚，如巨浪拍岸、余响不绝；全诗语调由蓄而发、由发而收，正合「放号」的声情。

Reading note The sound of this poem is the sound of shouting, and the language itself does the announcing. Almost no tonal pattern or rhyme is worked over; instead three devices carry the effect. First the exclamations: a a and yo stand inside the line like a horn or a peal of thunder, the open a of the first thrown wide as from a throat, so that the reader is not reading a description but hearing a voice. Second the long lines: the final sentence runs on without a stop, and its length is the length of its force, for the reader must carry it through in one breath to feel the ocean's push. Third the closing sounds: yong, yo and dao are all falling, open syllables, so each line ends on a heavy, decisive beat that drives the force into the reader. Guo Moruo called the writing of The Goddess the product of an age of eruption, and this is that eruption in sound: the words are lava, the cries are the thunder, the long lines are the flow, and the reader is caught in the movement before he has finished decoding a single image.《立在地球边上放号》的声韵之美，是一种「呐喊的美学」——诗歌的语言本身就在放号。全诗几乎不用平仄、韵脚的雕琢，而以三种声音手段构成震撼的声效：其一，感叹词的呐喊——「啊啊」「哟」直接进入诗句，如号角、如惊雷，把抒情主体的激情不加节制地掷入声音之中，「啊啊」的开口音「a」如张口呐喊，声震四野，这正是「放号」题旨的声学实现——诗人不是「吟」诗，而是「喊」诗；其二，长句的奔流——「无限的太平洋提起他全身的力量来要把地球推倒」一句长贯到底，中间不加停顿，如太平洋的巨浪一涌到底、不可阻挡，句子的长度就是力量的长度，读者读这一句时，必须一气呵成，方能体会「推倒地球」的酣畅；其三，收尾的浑厚——全诗以「涌」「哟」「倒」等去声字收句，音节雄壮而干脆，如重锤落地，每一下都把「力」砸进读者心中。郭沫若曾自述《女神》的写作是「火山爆发期」的产物，这首诗正是火山喷发的声学标本：词语是岩浆，感叹是轰鸣，长句是奔流——其声音的狂放、节奏的迅疾、气势的磅礴，使读者不待解读意象，已先被声音卷入那狂飙突进的氛围之中。这是浪漫主义自由诗「以声传情」的极致：韵律不是外加的装饰，而是抒情主体激情的自然喷涌，故《立在地球边上放号》读来如闻其声、如临其境，一百年来，其「放号」之声始终是新诗中最震撼的声响之一。

Line by line

无数的白云正在空中怒涌，啊啊！好幅壮丽的北冰洋的情景哟！

Countless white clouds are surging in the sky in rage. Ah! What a magnificent scene, this Arctic Ocean!

无数的白云正在天空中翻涌怒吼，啊啊！多么壮丽的北冰洋的情景啊！

Numberless white clouds rage upward in the sky; ah, what a magnificent scene of the Arctic Ocean!

此句是全诗的起势，一开篇便把天空的云海与北冰洋的冰洋联系起来，完成「以海喻云」的奇崛想象。「无数的白云正在空中怒涌」——「无数」写云之多，「怒涌」写云之势：白云本是无力的、轻盈的，诗人却以「怒」字赋予其愤怒的情绪，以「涌」字赋予其波涛的动作，天空的白云在笔下化作狂暴的怒涛，静态的景物被彻底动态化；「啊啊」——两个感叹词连用，如同一声惊雷，把抒情主体的惊叹直接掷入诗中，情感不加节制地喷涌而出，这是浪漫主义「主观抒情」的典型姿态；「好幅壮丽的北冰洋的情景哟」——「好幅」是白话的赞叹，「壮丽」是审美的判断，「北冰洋」是空间的转移：诗人的想象由天空跃向北冰洋，白云的怒涌与冰洋的翻腾在想象中合而为一——「哟」字拖长语调，惊叹之情余韵不绝。三句连读，由云而叹、由叹而比，天空的云海在诗人眼中化作壮丽的冰洋，视界瞬间由苍穹扩至寰宇，为下文「太平洋推倒地球」的更大奇观蓄足了势——白云之怒涌尚如此，太平洋之力将如何？读者的期待被这开篇的惊叹高高吊起。

The clouds. Numberless white clouds rage upward in the sky; ah, what a magnificent scene of the Arctic Ocean! The raging white clouds and the Arctic Ocean exclamation are the opening. To have raged upward would be a raging; the numberless-white-clouds-rage-upward-in-the-sky-ah-what-a-magnificent-scene-of-the-arctic-ocean is the raging.

无限的太平洋提起他全身的力量来要把地球推倒。

The endless Pacific heaves up its whole body, meaning to overturn the earth.

无限的太平洋提起它全身的力量来，要把地球推倒。

The boundless Pacific gathers all its strength to push the earth over.

此句是全诗的高潮，也是《女神》「力的诗学」最震撼的表达，其妙在于「力」的三重叠加。「无限的太平洋」——「无限」写太平洋的不可穷尽，空间上把海推到宇宙的尺度，为「力」的蓄势提供无限的可能；「提起他全身的力量来」——「提起」写蓄力，「全身的力量」写倾尽所有，太平洋仿佛一个巨人在调集全身的肌肉，力的酝酿到了临界点；「要把地球推倒」——「推倒」写力的爆发，地球是最大的实体，推倒地球是力的极限——三重合力的叠加，把「力」从物理的层次推到形而上的层次：太平洋不再是海，而是冲决一切旧秩序的伟力的化身。此句的深意在于「以物写时代」：1919年的中国，五四浪潮正如太平洋之怒涛，冲决着两千年的旧秩序；「要把地球推倒」的狂想，正是「破坏旧世界」的时代豪情的极致表达。而「他」字用人的第三人称指太平洋，更见泛神论「自然皆人」的观念——海是有意志的巨人，力是有生命的实体。一句之内，「无限」写其大、「全身」写其诚、「推倒」写其猛，磅礴的气势扑面而来，是浪漫主义崇高美学的巅峰，也是五四时代精神的轰鸣。

The push. The boundless Pacific gathers all its strength to push the earth over. The boundless Pacific pushing the earth over is the climax. To have pushed the earth over would be a pushing; the the-boundless-pacific-gathers-all-its-strength-to-push-the-earth-over is the pushing.

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怒涌 Nuyong, surging in rage, opens the aesthetics of motion in The Goddess with two characters that each break their own frame. Nu, anger, is not a feeling the clouds have been given; it is a will imposed on them, so the sea of cloud is boiling because something inside it refuses. Yong, to surge, belongs to water: it describes liquid rising and rolling, and applied to vapour it turns what is weightless into something with the weight and the movement of a storm. Both words also carry the poet into the picture, for it is his own anger that he has given the clouds, and this identity of self and storm is what separates The Goddess from the plain, descriptive new verse of the same years. 「无数的白云正在空中怒涌」之「怒涌」二字，是《女神》动词美学的开篇示范，也是「力的诗学」的第一个音符。「怒」本为形容词，写愤怒、狂暴，此处移作状语，写白云涌动的情绪状态——白云本无情，诗人却以「怒」字赋予其愤怒的意志，仿佛云海不是被风吹动，而是自己在发怒、在抗争；「涌」写水的腾涌、喷薄，本是描写液态的动词，此处移以写云，把气态的云写得如液态的怒涛——「怒涌」二字，「怒」以情写形、「涌」以水写云，双重通感的叠加，使白云的翻涌获得狂暴而壮烈的质感。这两个字的价值在于「以情驭景」：它不是客观地描写云的运动，而是把抒情主体内心的怒潮投射到云上——诗人「怒」，故云亦「怒」；诗人要冲决，故云在「涌」。这种「移情于物」的写法，正是浪漫主义诗学的核心手法，也是《女神》区别于胡适一派「白描式」新诗的根本所在——郭沫若写云，不是「看」云，而是「成为」云，物我合一、情与景冥，两个字的张力，已为全诗的狂飙定下基调。

无限的 Wuxian de, the endless, is the key to the poem's expansion of space. It does not merely describe a large sea, for a large sea would still be measured; it removes the limit, so that the Pacific becomes a thing without an edge, and an edge is what makes a force countable. Read against the rest of the sentence, the endless Pacific is what allows the heaving of its whole body and the overturning of the earth to sound like anything but a boast. Underneath the rhetorical level runs the romantic claim of a self as wide as the world, the line I am broad and vast, I contain multitudes, in which a limitless ocean stands for a limitless speaker, and the pantheism that sees god in every natural thing gives the sea its strange, deliberate agency. 「无限的太平洋提起他全身的力量来」之「无限的」三字，是空间扩张的关键修辞，也是《女神》宇宙意识的凝练表达。「无限」写太平洋的不可穷尽——它不是「广阔的」「浩渺的」这类有限度的形容，而是把海推到没有边界、没有限度的层次；「无限的太平洋」与「全身的力量」「要把地球推倒」连读，「无限」是「推倒地球」所以可能的空间前提——正因为太平洋是无限的，它的力才是不可估量的，才足以撼动地球。这三个字的深意有二：其一，写「力的无限性」——五四时代讲「破坏与创造」，郭沫若要写的不是有限的力，而是冲决一切的无限之力，「无限」二字把物理的太平洋升华为形而上的力量象征；其二，写「自我扩张的诗学」——惠特曼有「我辽阔广大，我包罗万象」，郭沫若把「无限」赋予了太平洋，实则是把抒情主体的自我扩张投射于自然——「无限的太平洋」正是「无限的自我」的化身，诗人立在地球边上放号，其胸襟亦如太平洋之无限。三字之内，空间与自我、自然与精神合而为一，是《女神》泛神论与浪漫主义「天人合一」观念的凝练表达。

推倒 Tuidao, to overturn, is the final breaking point of the poem and its loudest note. Tui fixes the direction of the force, for to push is not to smash but to lean until what stands falls, and the movement is forward rather than downward; dao is what follows, the earth going over. The object is chosen for its size, since the earth is the largest thing the poet knows that can be moved, and to imagine it falling is to imagine the collapse of every order at once. There is also a promise inside the verb: what is overturned can be built, and the poem's own later line - always destroying, always creating - shows that the destruction was never the end of the argument. Two characters carry the whole of the May Fourth will to change the world. 「要把地球推倒」之「推倒」二字，是全诗力量的最终爆发，也是《女神》时代精神的最强音。「推」写力的方向——不是击碎、不是炸毁，而是「推」，一个持续用力的动作，写力的沉稳与蓄势；「倒」写力的结果——地球倾覆，天翻地覆，写力的终极效果；「推倒」连用，把「力」从动词变成事件：地球——人类所居的最大实体——在太平洋的一推之下倾覆，这是想象力的极致放纵，也是「破坏」主题的宇宙级表达。这两个字的深意有二：其一，「推倒」的对象是「地球」——五四时代要破坏的是旧礼教、旧制度、旧秩序，郭沫若把它们放大为「地球」，以宇宙级的破坏想象承载时代级的破坏激情，正是浪漫主义「以巨象写大事」的手法；其二，「推倒」的姿态是「向前」——「推」不同于「击」，是向着未来的推进，破坏之中含着创造的指向，与《女神》「不断的毁坏，不断的创造，不断的努力」（《立在地球边上放号》后文）的主题呼应——推倒旧地球，是为了建设新世界。两字之内，力的方向、力度、结果一气呵成，读者仿佛听见太平洋的巨浪拍击地球的轰鸣，五四的狂飙与浪漫主义的崇高，在这一「推倒」中达到顶点。

Ode to the Sun sets a dark, heavy sea against a sun coming flying out of the other side of the world, and praises the light and the heat of a fire that burns without asking permission. This poem sets white clouds surging in rage and a Pacific heavy with the whole body of a beast, and praises a force measured in violence. Between the two, the collection divides its worship: the sun stands for light, warmth and creation, and is taken by Guo Moruo as a figure of new birth and hope; the Pacific stands for shock, destruction and sheer magnitude, and is taken as a figure of revolution. Both write nature on the scale of the globe, both use long unbroken lines, and both break the verse with a cry, so that together the two poems give the double movement of The Goddess, destruction followed by creation.

《立在地球边上放号》与《太阳礼赞》同出郭沫若《女神》，同为礼赞自然伟力的浪漫主义名篇，一以太平洋写「力」，一以太阳写「光」。《太阳礼赞》以「青沉沉的大海」与「光芒万丈的太阳」对举，写太阳「从海的那边飞来」的壮丽，赞颂太阳「熊熊地燃烧」的创造之力，是《女神》中「光与热」的礼赞；《立在地球边上放号》则以「怒涌的白云」「推倒地球的太平洋」写自然的狂暴之力，是《女神》中「力与势」的礼赞。两诗并读，可见《女神》自然礼赞的两极：太阳代表光明、温暖、创造（郭沫若以之喻新生与希望），太平洋代表冲击、破坏、力度（郭沫若以之喻革命与变革）；同是「以自然写时代」，太阳是理想的化身，太平洋是革命的化身——而两诗的共性更值得注意：皆以宇宙的尺度立象（太阳、地球）、以奔放的长句抒情、以「啊啊」「哟」的感叹呐喊，共同体现了《女神》浪漫主义诗学的统一风格，也共同构成了五四时代「破坏与创造」主题的双重奏。

凤凰涅槃·节选 The Rebirth of the Phoenix (extract) 郭沫若 · 同为《女神》巅峰之作，一写自然之力，一写民族新生 Both are the highest achievements of The Goddess: one writes the force of nature, one the rebirth of a nation

The Rebirth of the Phoenix tells how two phoenixes burn themselves on a pile of fragrant wood and come back more beautiful from the ashes, and in that myth it carries the complete argument of the collection: the old China is destroyed and the new one is born. This poem is the compressed form of the same argument, for what the Pacific overturns is the old order and what follows the overturning must be a new earth. The difference is scale and temper: the phoenix poem unfolds through long ritual lament, the male and female phoenix singing over many stanzas, slow and grave in its grief; this one is a short declaration, brief and fierce, a shout rather than a chant. Both come out of the same volcano period, one an epic of the age and one a manifesto, and together they state the whole structure of The Goddess, destroy the old and create the new.

《立在地球边上放号》与《凤凰涅槃》同为《女神》中气势最磅礴的篇章，一为短制，一为长诗，而精神相通。《凤凰涅槃》以凤凰「集香木自焚、复从死灰中更生」的神话，写旧中国的毁灭与新中国的诞生，是「破坏与创造」主题的最完整表达；《立在地球边上放号》则以太平洋「要把地球推倒」的狂想，写旧秩序的崩塌，是「破坏」主题的宇宙级浓缩。两篇并读：凤凰之「涅槃」是神话的破立（自焚而后更生），太平洋之「推倒」是物理的破立（推倒而后再造）；《凤凰涅槃》以「凤歌」「凰歌」的漫长吟唱铺展悲壮，节奏低回而深沉，《立在地球边上放号》以「啊啊」的短促呐喊直抒激情，节奏迅疾而狂放；同是郭沫若「火山爆发期」的产物，一为史诗性的壮阔，一为宣言式的猛烈。合观两篇，可见《女神》的完整精神结构：以「推倒地球」之力破坏旧世界，以「凤凰涅槃」之志创造新世界——破坏与创造互为表里，这正是五四时代精神在诗中的最高体现，也是郭沫若浪漫主义诗学的巅峰。

海燕 The Sea Swallow 高尔基 · 同写大海风暴的壮阔与变革的激情，中外革命浪漫主义双璧 Both write the grandeur of a stormy sea and the passion for change; Chinese and foreign romantic revolutionaries in matching pairs

The Sea Swallow, Gorky's prose poem of 1901, has a storm-tossed sea and a bird of premonition flying proudly above the white specks of the water, crying that the storm is coming, that the storm is coming, and is read as the figure of the vanguard of the revolution. This poem has white clouds in fury and a Pacific heavy with all its strength, crying an equally loud cry for the old earth to go. Gorky writes an image, the bird, and makes it the emblem of a hero; Guo Moruo writes a force and makes it the emblem of an age. Both were written at a moment when their country was on the edge of upheaval, both have been in school readers for a century, and both influenced the natural writing of later Chinese left-wing literature, so the two belong together as a single figure of romanticism's hope that nature itself might carry the revolution.

《立在地球边上放号》与《海燕》同是写大海风暴与变革激情的名篇，一中一外，堪称革命浪漫主义的双璧。《海燕》是高尔基1901年的散文诗，写暴风雨来临前海燕在「白蒙蒙的海面上」高傲地飞翔，宣告「暴风雨！暴风雨就要来啦」，以海燕象征无产阶级革命者的先驱形象；《立在地球边上放号》写白云怒涌、太平洋推倒地球的狂飙，以自然伟力象征五四时代的革命精神。两篇并读：高尔基写「预言的鸟」呼唤暴风雨，郭沫若写「无限的海」掀起暴风雨——一为革命前夜的召唤，一为革命进行时的呐喊；《海燕》以海燕与海鸥、海鸭、企鹅的对比写勇者的孤独，《立在地球边上放号》以「啊啊」的感叹写抒情主体的狂喜——同是「以海写革命」，高尔基侧重「形象」（海燕的英姿），郭沫若侧重「力量」（太平洋的伟力）。两篇自20世纪初传入/发表以来，皆成为各自国家革命文学的经典，并共同影响了中国左翼文学的自然书写，其跨文化的呼应，正见革命浪漫主义「以自然伟力写时代变革」的美学在东西方文学中的共鸣。