当代 当代 · 诗 Poem
回延安
Return to Yan'an
心口呀莫要这么厉害地跳，灰尘呀莫把我眼睛挡住了……手抓黄土我不放，紧紧儿贴在心窝上。
……几回回梦里回延安，双手搂定宝塔山。
千声万声呼唤你，——母亲延安就在这里！
杜甫川唱来柳林铺笑，红旗飘飘把手招。
白羊肚手巾红腰带，亲人们迎过延河来。
满心话登时说不出来，一头扑在亲人怀。
……二十里铺送过柳林铺迎，分别十年又回家中。
树梢树枝树根根，亲山亲水有亲人。
Show full original poem
心口呀莫要这么厉害地跳，灰尘呀莫把我眼睛挡住了……手抓黄土我不放，紧紧儿贴在心窝上。
……几回回梦里回延安，双手搂定宝塔山。
千声万声呼唤你，——母亲延安就在这里！
杜甫川唱来柳林铺笑，红旗飘飘把手招。
白羊肚手巾红腰带，亲人们迎过延河来。
满心话登时说不出来，一头扑在亲人怀。
……二十里铺送过柳林铺迎，分别十年又回家中。
树梢树枝树根根，亲山亲水有亲人。
羊羔羔吃奶眼望着妈，小米饭养活我长大。
东山的糜子西山的谷，肩膀上的红旗手中的书。
手把手儿教会了我，母亲打发我们过黄河。
革命的道路千万里，天南海北想着你……米酒油馍木炭火，团团围定炕上坐。
满窑里围得不透风，脑畔上还响着脚步声。
老爷爷进门气喘得紧："我梦见鸡毛信来——可真见亲人……"亲人见了亲人面，欢喜的眼泪眶眶里转。
保卫延安你们费了心，白头发添了几根根。
团支书又领进社主任，当年的放羊娃如今长成人。
白生生的窗纸红窗花，娃娃们争抢来把手拉。
一口口的米酒千万句话，长江大河起浪花。
十年来革命大发展，说不尽这三千六百天……千万条腿来千万只眼，也不够我走来也不够我看！
头顶着蓝天大明镜，延安城照在我心中：一条条街道宽又平，一座座楼房披彩虹；
一盏盏电灯亮又明，一排排绿树迎春风……对照过去我认不出了你，母亲延安换新衣。
杨家岭的红旗啊高高的飘，革命万里起高潮！
宝塔山下留脚印，毛主席登上了天安门！
枣园的灯光照人心，延河滚滚喊"前进"！
赤卫军，青年团，红领巾，走着咱英雄几辈辈人……社会主义路上大踏步走，光荣的延河还要在前头！
身长翅膀吧脚生云，再回延安看母亲！
O dust, do not blind my eyes ...
My hands clutch the loess and will not let go,
Pressed hard against my breast.
... Often in dreams I return to Yan'an,
And clasp the Pagoda Mountain in both arms.
A thousand calls, ten thousand calls, I call to you,
-Mother Yan'an, you are right here!
Dufu River sings, Liulinpu laughs,
Red banners float and wave a greeting hand.
Towels of white goat hair, red sashes,
My kin come flooding over the Yan River.
A hundred things to say and not a word comes out,
And I fling myself into a kinsman's arms. ...
Ershilipu sees me off, Liulinpu comes to meet me,
Ten years apart, and home again.
Tree tops, branches, tree roots,
Kin mountain, kin water, kinfolk.
A lamb takes milk and eyes its mother,
Millet food reared me and made me grow.
Millet from the east hills, grain from the west,
Red flag upon my shoulder, a book in my hand.
Hand over hand you taught me,
And the mother sent us across the Yellow River.
The road of revolution runs ten thousand li,
North of heaven, south of sea, I think of you ...
Millet wine, oil cakes, charcoal fire,
Close about the heated kang we sit.
The cave is packed so that not a breath can pass,
Over the hillside the footfalls still ring.
The old grandpa enters, panting hard:
I dreamed the letter-bird came - and truly I see kinfolk ...
Kinsman sees kinsman's face,
And the eyes tell their joy and cannot hold it.
You spent your hearts defending Yan'an;
A few more strands of white hair appear.
The Youth League secretary brings in the village head,
The shepherd lad of old grown now a man.
Paper white as snow, red paper-cut flowers,
The children push and struggle for my hand.
Cup after cup of millet wine, ten thousand words,
And the great river splashes into flowers.
In ten years the revolution has grown apace,
Three thousand six hundred days too many to recount ...
Ten thousand legs, ten thousand eyes,
Not enough for my walking, not enough for my seeing!
Over my head a mirror-blue sky,
Yan'an city shines inside my heart:
Street after street, broad and level,
Building on building wrapped in rainbow;
Lamp after lamp burning bright,
Row after row of green trees greeting the spring wind ...
Set against what I knew, I should not know you again:
Mother Yan'an has put on a new robe.
The red flag of Yangjialing hangs high,
A ten-thousand-li revolution rises to a high tide!
Beneath the Pagoda Mountain the footprints stay,
Chairman Mao ascended Tiananmen!
The lamplight of Zaoyuan lights the heart,
The Yan River rolls on calling Forward!
Red guards, youth corps, red scarves,
Marching on, heroes generation after generation ...
On the road to socialism we take giant strides,
And the glorious Yan River yet leads the way!
Give me wings to my body and cloud under my feet,
Back to Yan'an, to see my mother!
Meaning
He Jingzhi's 'Return to Yan'an' sings of a homecoming after ten years of absence. Returning to the Loess Plateau village that reared him, the poet is overwhelmed by the welcome of the people there and greets Yan'an as a mother who fed, taught and sent him out onto the revolutionary road. The remembered landscape of cave dwellings, red flags and millet wine is set against the new city of broad streets, electric lamps and tall buildings. The voice is that of a son who cannot find enough legs or eyes to take in the change, and who vows to come back one day.
心口呀莫要这么厉害地跳，灰尘呀莫把我眼睛挡住了……手抓黄土我不放，紧紧儿贴在心窝上。……几回回梦里回延安，双手搂定宝塔山。千声万声呼唤你，——母亲延安就在这里！杜甫川唱来柳林铺笑，红旗飘飘把手招。白羊肚手巾红腰带，亲人们迎过延河来。满心话登时说不出来，一头扑在亲人怀。……二十里铺送过柳林铺迎，分别十年又回家中。树梢树枝树根根，亲山亲水有亲人。羊羔羔吃奶眼望着妈，小米饭养活我长大。东山的糜子西山的谷，肩膀上的红旗手中的书。手把手儿教会了我，母亲打发我们过黄河。革命的道路千万里，天南海北想着你……米酒油馍木炭火，团团围定炕上坐。满窑里围得不透风，脑畔上还响着脚步声。老爷爷进门气喘得紧：「我梦见鸡毛信来——可真见亲人……」亲人见了亲人面，欢喜的眼泪眶眶里转。保卫延安你们费了心，白头发添了几根根。团支书又领进社主任，当年的放羊娃如今长成人。白生生的窗纸红窗花，娃娃们争抢来把手拉。一口口的米酒千万句话，长江大河起浪花。十年来革命大发展，说不尽这三千六百天……千万条腿来千万只眼，也不够我走来也不够我看！头顶着蓝天大明镜，延安城照在我心中：一条条街道宽又平，一座座楼房披彩虹；一盏盏电灯亮又明，一排排绿树迎春风……对照过去我认不出了你，母亲延安换新衣。杨家岭的红旗啊高高的飘，革命万里起高潮！宝塔山下留脚印，毛主席登上了天安门！枣园的灯光照人心，延河滚滚喊「前进」！赤卫军，青年团，红领巾，走着咱英雄几辈辈人……社会主义路上大踏步走，光荣的延河还要在前头！身长翅膀吧脚生云，再回延安看母亲！
Appreciation
[Plain Paraphrase] The speaker returns, after ten years, to the Yan'an he still dreams of nightly, and is swallowed up in the welcome of neighbours, old comrades and children. He recalls being taught 'hand in hand' and sent over the Yellow River; he sits on the kang drinking millet wine; he walks the streets and can barely recognise the place. [Structure] The poem moves in five large movements - arrival, recollection, the welcome, the new Yan'an, and the farewell vow - each closing on a line of the refrain-like address 'you ... ' that keeps the city present as a person. [Imagery] The imagery is deliberately material and low: loess in the hands, millet wine, the heated kang, paper-cut flowers, white hair. Almost every image of want is followed by its image of plenty (grass on the hills, then lamps and rainbow-lit buildings). 'Mother Yan'an' turns a political capital into a family kin term, which is why the poem can be both intimate and heroic. The style imitates the Shaanbei 'xintianyou' folk song, with its short linked couplets, its 'a... a, b... b' cadence, and its end-word rhyme.
【白话串讲】 贺敬之写《回延安》：“心口呀莫要这么厉害地跳，灰尘呀莫把我眼睛挡住了”——“手抓黄土我不放，紧紧儿贴在心窝上”——“几回回梦里回延安，双手搂定宝塔山”——“千声万声呼唤你，母亲延安就在这里”——他写重回延安的激动。 【意象与手法】 “心口呀莫要这么厉害地跳，灰尘呀莫把我眼睛挡住了”以呼告与夸张写激动；“手抓黄土我不放，紧紧儿贴在心窝上”以动作细节写深情；“几回回梦里回延安，双手搂定宝塔山”以梦境写思念；“身长翅膀吧脚生云，再回延安看母亲”以想象收束。民歌信天游体式，句式回环。 【情感与主旨】 以信天游形式抒写重回延安的激动与对革命圣地的深情，将个人情感与集体记忆结合，是贺敬之政治抒情诗代表作，体现其向民歌学习的创作方向。 【名句点睛】 常考“几回回梦里回延安，双手搂定宝塔山”以梦里搂定写思念；“手抓黄土我不放，紧紧儿贴在心窝上”以抓黄土写深情。
Background
He Jingzhi (b. 1924, Yuncheng, Shandong; now Zaozhuang) is a modern Chinese poet and playwright who served for a time as acting Minister of Culture. He first went to Yan'an in 1940 as a student of Lu Yi's drama academy and left in 1946; the poet returned there in 1956, ten years later, and this poem records that visit. Its lyric mode is that of the 'xintianyou' folk songs of northern Shaanxi, which the poet learned and then reworked into free verse. Written in the decade of the socialist reconstruction of the northern Shaanxi base area, the poem belongs to the genre of'lyric reportage' in which a public journey is narrated through personal feeling. It remains one of the most widely anthologised poems of modern Chinese verse.
《回延安》为当代诗人贺敬之所作诗。贺敬之（1924—），山东峄县（今枣庄）人，当代诗人、剧作家，曾任文化部代部长。此诗写抒情怀乡，为回延安之作。诗中「心口呀莫要这么厉害地跳，灰尘呀莫把我眼睛挡住了」写心口呀莫要这么厉害地跳，灰尘呀莫把我眼睛挡住了；「手抓黄土我不放，紧紧儿贴在心窝上」写手抓黄土我不放，紧紧儿贴在心窝上；「千声万声呼唤你，母亲延安就在这里」写千声万声呼唤你，母亲延安就在这里；「手把手儿教会了我，母亲打发我们过黄河」写手把手儿教会了我，母亲打发我们过黄河；「身长翅膀吧脚生云，再回延安看母亲」写身长翅膀吧脚生云，再回延安看母亲。贺敬之此诗以抒情怀乡、再回延安看母亲写其怀乡之情，深挚感人，是贺敬之诗中的名篇。此篇《回延安》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。
Art
The verse is built on an argument between two registers: the vocabulary of revolutionary public life (flags, red guards, the road to socialism) and the vocabulary of family and body (mother, hands, milk, hair). Keeping the two in one sentence is what gives the poem its unusual tone of declaration mixed with tenderness. The craft lies in the handling of repeated numerals - 'a thousand', 'ten thousand', 'thousand and six hundred days' - which convert quantity into emotion rather than description. Concretion is the main device: no line of the first movement names an emotion abstractly; the heart that 'will not let go of the loess' substitutes for every word of sentiment. The folk-song form supplies the rhyme, the couplet linkage and the refrain-like recurrence of 'you', so that the whole sixty-odd lines read as one long breath.
此诗艺术上以「深挚感人、以情写情」见长。全诗共六十一行，由心口呀莫要这么厉害地跳而手抓黄土我不放而千声万声呼唤你。起「心口呀莫要这么厉害地跳，灰尘呀莫把我眼睛挡住了」写心口呀莫要这么厉害地跳：心口呀莫要这么厉害地跳，灰尘呀莫把我眼睛挡住了；「手抓黄土我不放，紧紧儿贴在心窝上」写手抓黄土我不放：手抓黄土我不放，紧紧儿贴在心窝上；「千声万声呼唤你，母亲延安就在这里」写千声万声呼唤你：千声万声呼唤你，母亲延安就在这里；「手把手儿教会了我，母亲打发我们过黄河」写手把手儿教会了我：手把手儿教会了我，母亲打发我们过黄河；结「身长翅膀吧脚生云，再回延安看母亲」写再回延安看母亲：身长翅膀吧脚生云，再回延安看母亲。全诗以情写情，由心口呀莫要这么厉害地跳而再回延安看母亲，深挚感人，是贺敬之诗中的名篇。
Allusions
Yan'an itself is the great allusion of the poem: the mountainous town in northern Shaanxi that served as the revolutionary capital from 1935 to 1948, and above all the symbol of that period. The Pagoda Mountain, the Yan River, the Dongshan and Xishan hills, Yangjialing, Zaoyuan and the memory of Chairman Mao's proclamation at Tiananmen are place-names used as compressed historical shorthand; a reader is expected to supply the whole revolutionary calendar behind them. The 'letter-bird' (jimaoxin) quoted by the old man refers to the ruthlessly simplified shorthand of wartime underground reporting, and so ironically enlarges the welcome. The folk-song model is itself a classical inheritance: the 'xintianyou' and the of-'chinese folk-song' tradition of linked quatrains go back to the 'Book of Songs' and to theNorthern Dynasties' folk songs, which is why the poem can sound ancient while it describes a bus-tour of a 1950s newspaper reporter.
诗中「心口呀莫要这么厉害地跳灰尘呀莫把我眼睛挡住了」「手抓黄土我不放紧紧儿贴在心窝上」「几回回梦里回延安双手搂定宝塔山」「千声万声呼唤你母亲延安就在这里」「杜甫川唱来柳林铺笑红旗飘飘把手招」「白羊肚手巾红腰带亲人们迎过延河来」「满心话登时说不出来一头扑在亲人怀」「二十里铺送过柳林铺迎分别十年又回家中」「树梢树枝树根根亲山亲水有亲人」「羊羔羔吃奶眼望着妈小米饭养活我长大」「东山的糜子西山的谷肩膀上的红旗手中的书」「手把手儿教会了我母亲打发我们过黄河」「革命的道路千万里天南海北想着你」「米酒油馍木炭火团团围定炕上坐」「满窑里围得不透风脑畔上还响着脚步声」「亲人见了亲人面欢喜的眼泪眶眶里转」「保卫延安你们费了心白头发添了几根根」「团支书又领进社主任当年的放羊娃如今长成人」「白生生的窗纸红窗花娃娃们争抢来把手拉」「一口口的米酒千万句话长江大河起浪花」「十年来革命大发展说不尽这三千六百天」「千万条腿来千万只眼也不够我走来也不够我看」「头顶着蓝天大明镜延安城照在我心中」「一条条街道宽又平一座座楼房披彩虹」「一盏盏电灯亮又明一排排绿树迎春风」「对照过去我认不出了你母亲延安换新衣」「杨家岭的红旗啊高高的飘革命万里起高潮」「宝塔山下留脚印毛主席登上了天安门」「枣园的灯光照人心延河滚滚喊前进」「赤卫军青年团红领巾走着咱英雄几辈辈人」「社会主义路上大踏步走光荣的延河还要在前头」「身长翅膀吧脚生云再回延安看母亲」等语，皆含典故故实。「心口呀莫要这么厉害地跳灰尘呀莫把我眼睛挡住了」写心口呀莫要这么厉害地跳灰尘呀莫把我眼睛挡住了；「手抓黄土我不放紧紧儿贴在心窝上」写手抓黄土我不放紧紧儿贴在心窝上；「几回回梦里回延安双手搂定宝塔山」用宝塔山之典（宝塔山为延安标志），写几回回梦里回延安双手搂定宝塔山；「千声万声呼唤你母亲延安就在这里」写千声万声呼唤你母亲延安就在这里；「手把手儿教会了我母亲打发我们过黄河」写手把手儿教会了我母亲打发我们过黄河；「身长翅膀吧脚生云再回延安看母亲」写身长翅膀吧脚生云再回延安看母亲。诗人以宝塔山等典入诗，不着痕迹，而把抒情怀乡之情写得真切可感，是善于熔铸典故的体现。
Commentary
The poem has been a staple of Chinese anthologies and school readers since the 1950s, and is usually cited as the fullest poetic statement of the Yan'an legend written from inside. Its reputation rests less on novelty than on the success of a difficult marriage: the lyric conventions of folk song, which permit a single speaker to weep and clutch the ground, joined to a public poetry of revolution. Later readers have been more interested in the poem's rhetorical work than in its politics - note how the speaker's helplessness before words ('a hundred things to say and not a word comes out') turns out to be the proof of the feeling rather than its failure. What survives critical fashion is the final image of the vow: wings and cloud, walking back. The poem ends by refusing the present tense for the future tense, and that refusal is what readers still find moving.
这首《回延安》，是贺敬之写抒情怀乡之作，写心口呀莫要这么厉害地跳、手抓黄土我不放、千声万声呼唤你、手把手儿教会了我、再回延安看母亲之情，深挚感人。起「心口呀莫要这么厉害地跳，灰尘呀莫把我眼睛挡住了」——心口呀莫要这么厉害地跳，灰尘呀莫把我眼睛挡住了。写心口呀莫要这么厉害地跳：心口呀莫要这么厉害地跳、灰尘呀莫把我眼睛挡住了——心口跳、眼睛挡住；「手抓黄土我不放，紧紧儿贴在心窝上」——手抓黄土我不放，紧紧儿贴在心窝上。写手抓黄土我不放：手抓黄土我不放、紧紧儿贴在心窝上——抓黄土、贴在心窝上；「千声万声呼唤你，母亲延安就在这里」——千声万声呼唤你，母亲延安就在这里。写千声万声呼唤你：千声万声呼唤你、母亲延安就在这里——呼唤你、母亲延安；「手把手儿教会了我，母亲打发我们过黄河」——手把手儿教会了我，母亲打发我们过黄河。写手把手儿教会了我：手把手儿教会了我、母亲打发我们过黄河——教会了我、过黄河；结「身长翅膀吧脚生云，再回延安看母亲」——身长翅膀吧脚生云，再回延安看母亲。写再回延安看母亲：身长翅膀吧脚生云、再回延安看母亲——生云、看母亲。这「身长翅膀吧脚生云，再回延安看母亲」，是全诗之结：以再回延安看母亲写其怀乡。全诗深挚感人，以情写情，正是贺敬之诗中的名篇。
Prosody
Line by line
心口呀莫要这么厉害地跳，
O my heart, do not beat so violently,
心口呀莫要这么厉害地跳，
Oh, my heart, don't beat so hard,
起句写心口呀莫要这么厉害地跳，起笔即见其心。「心口呀莫要这么厉害地跳」写心口呀莫要这么厉害地跳，「心口呀」写心口呀、「莫要这么厉害地跳」写莫要这么厉害地跳。一句写心口呀莫要这么厉害地跳，以心口呀写心口、以莫要这么厉害地跳写心跳，写尽心口呀莫要这么厉害地跳之情。以心起兴，深挚而感人，是「以心起兴」的妙笔。
The poem opens by calming the speaker's own body. Oh, my heart, don't beat so hard—he scolds his own pulse for the excitement of arriving. The colloquial address to his own heart is the first sign that Yan'an is not a place but an emotional event; the body knows before the mind. To have said I was very nervous arriving would be a confession; the spoken reproach to his heart is the emotion.
手抓黄土我不放，
My hands grasp the loess and will not let go,
手抓黄土我不放，
My hand grips the loess and I won't let go,
此句写手抓黄土我不放，是全诗写抓土之态的关键。「手抓黄土」写手抓黄土，「手抓」写手抓、「黄土」写黄土；「我不放」写我不放，「我」写我、「不放」写不放。一句写手抓黄土我不放，以手抓黄土写抓黄土、以我不放写不放，写尽手抓黄土我不放之情。以土写情，深挚而感人，是「以土写情」的点睛之笔。此句以寥寥数语写尽深意，情韵兼胜，正是全诗点睛之笔。其于字句之间暗藏波澜，于平易之中寄寓曲折，尤当反复涵泳，方能得其三昧。
The next gesture is more primal. My hand grips the loess and I won't let go. The soil of Yan'an is taken in the hand and refused release—not touched but clutched, the way a child grips a parent. The dialect particle is the folk-song voice. The line turns homecoming into a physical embrace of the ground. To have said I knelt and touched the earth would be ceremonial; the gripped loess he won't release is the homecoming.
千声万声呼唤你，
A thousand calls, ten thousand calls, I call to you,
千声万声呼唤你，
A thousand, ten thousand voices call to you,
此句写千声万声呼唤你，是全诗写呼唤之态的关键。「千声万声」写千声万声，「千声」写千声、「万声」写万声；「呼唤你」写呼唤你，「呼唤」写呼唤、「你」写你。一句写千声万声呼唤你，以千声万声写千声万声、以呼唤你写呼唤你，写尽千声万声呼唤你之情。以声写情，深挚而感人，是「以声写情」的点睛之笔。此句以寥寥数语写尽深意，情韵兼胜，正是全诗点睛之笔。其于字句之间暗藏波澜，于平易之中寄寓曲折，尤当反复涵泳，方能得其三昧。
A thousand, ten thousand voices call to you. The exaggeration is welcome: the whole landscape, in the poet's ecstatic return, seems to be calling the city by name. The thousand and ten thousand measure the fullness of the greeting, as though Yan'an were the mother called by a child. To have said many voices called would be literal; the thousand-fold calling is the reunion.
手把手儿教会了我，
Hand over hand you taught me,
手把手儿教会了我，
Hand in hand you taught me,
此句写手把手儿教会了我，是全诗写教会之态的关键。「手把手儿」写手把手儿，「手把手」写手把手、「儿」写儿；「教会了我」写教会了我，「教会了」写教会了、「我」写我。一句写手把手儿教会了我，以手把手儿写手把手、以教会了我写教会了我，写尽手把手儿教会了我之情。以教写情，深挚而感人，是「以教写情」的点睛之笔。
Hand in hand you taught me. The poem's central metaphor surfaces: Yan'an is a mother who raised him, and the teaching was bodily, hand over hand. The dialect diminutive softens the line into intimacy. It justifies everything before and after—why the heart races, why the loess is clutched. To have said Yan'an raised me would be a statement; the hand-over-hand teaching is the upbringing.
再回延安看母亲！
Back to Yan'an, to see my mother!
再回延安看母亲！
To return again to Yan'an and see my mother!
结句写再回延安看母亲，是全诗立意的落点。「再回延安」写再回延安，「再回」写再回、「延安」写延安；「看母亲」写看母亲，「看」写看、「母亲」写母亲。一句写再回延安看母亲，以再回延安写回延安、以看母亲写母亲，写尽再回延安看母亲之情。以母写情，深挚而感人，是全诗最动人处，也是「以母写情」的点睛之笔。此句以寥寥数语写尽深意，情韵兼胜，正是全诗点睛之笔。其于字句之间暗藏波澜，于平易之中寄寓曲折，尤当反复涵泳，方能得其三昧。
The closing names the metaphor. To return again to Yan'an and see my mother. The mother is Yan'an, and the journey is a visit home; the exclamation resolves the whole ecstasy into the simplest desire. Again is the word—he has come back, and promises to come back again. To have said I missed Yan'an would be a sentiment; seeing my mother is the sentiment.
Study
Word focus
Related Reading
Su Shi's 'Shui Diao Ge Tou' ends 'May we live long, and share the beauty of the moon a thousand li off' - a wish addressed to a distance that cannot be crossed. He Jingzhi's 'Return to Yan'an' has the same structure of an unattainable home, but addresses an actual place and answers it with a literal journey. The Song lyric habitually turns to the moon as the medium of separation; the modern poem turns to loess, wine, a kang and a lamp. Read together, the pair show a Chinese lyric tradition that keeps treating return as an interior condition - the place one comes back to is always partly a place one has built in memory.
苏轼《水调歌头·明月几时有》「但愿人长久，千里共婵娟」，写怀乡感怀、深挚旷达，是宋词长调的名篇；贺敬之《回延安》则以「千声万声呼唤你，母亲延安就在这里」「身长翅膀吧脚生云，再回延安看母亲」写呼唤你、再回延安看母亲。两诗同写怀乡感怀、深挚旷达：一写但愿人长久、以千里共婵娟写思亲，一写千声万声呼唤你母亲延安就在这里、以呼唤写怀乡；一为苏轼之旷达、一为贺敬之之深挚，并读正可见诗写「怀乡感怀」的两种笔法，皆于怀乡之中见深挚。
八声甘州·对潇潇暮雨洒江天 Ba Sheng Gan Zhou: Against the Drizzling Rain 柳永 · 同写羁旅怀乡、深婉凝望，一写对潇潇暮雨洒江天、一写手抓黄土我不放紧紧儿贴在心窝上，皆于羁旅之中见怀乡 Both begin with a wide landscape that the speaker takes as the measure of his own displacement: 'against the drizzling rain', 'autumn river, evening scene'Liu Yong opens 'Against the drizzling rain over the river and sky, one washing makes clear autumn' - an immense scene on which a lone traveller is placed, and the whole poem keeps returning to that shoreline. He Jingzhi's opening moves the huge view into the body: the dust in the eyes, the loess in the hands. One poem is rooted in travel and absence; the other in arrival and presence. The comparison is useful because it isolates what 'return' does to conventional scenery: landscape stops being a backdrop and becomes a witness that answers the speaker.
柳永《八声甘州·对潇潇暮雨洒江天》「对潇潇暮雨洒江天，一番洗清秋」，写羁旅怀乡、深婉凝望，是宋词写羁旅的名篇；贺敬之《回延安》则以「手抓黄土我不放，紧紧儿贴在心窝上」「几回回梦里回延安，双手搂定宝塔山」写抓黄土、梦里回延安。两诗同写羁旅怀乡、深婉凝望：一写对潇潇暮雨洒江天、以暮雨写清秋，一写手抓黄土我不放紧紧儿贴在心窝上、以黄土写怀乡；一为柳永之清丽、一为贺敬之之深挚，并读正可见诗写「羁旅怀乡」的两种笔法，皆于羁旅之中见怀乡。