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近现代近现代 · 词 Ci lyric

满江红·和郭沫若同志

Full River Red: Reply to Comrade Guo Moruo

毛泽东

Mao Zedong

名篇Masterpiece 词Ci to a Tune 政治抒情Political Lyric

小小寰球，有几个苍蝇碰壁。
嗡嗡叫，几声凄厉，几声抽泣。
蚂蚁缘槐夸大国，蚍蜉撼树谈何易。
正西风落叶下长安，飞鸣镝。
多少事，从来急；
天地转，光阴迫。
一万年太久，只争朝夕。
四海翻腾云水怒，五洲震荡风雷激。
要扫除一切害人虫，全无敌。

On this little globe, a few flies are bumping against the wall.
They buzz - a few shrill cries, a few sobbing breaths.
An ant on the locust tree boasts of a great nation; how easy is it for a winged ant to shake a tree?
Now the west wind is stripping the capital, and arrows whistle as they fly.
So many things remain to be done; they have always been urgent.
The earth turns and the hours press.
Ten thousand years is far too long: only the morning and the evening are worth seizing.
The four seas surge and cloud and water roar;
the five continents shake and wind and thunder strike.
Sweep away every pestilent worm that harms men - and there will be no equal at all.

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Meaning

Written in reply to Guo Moruo's celebratory ci, this poem answers a hymn with a battle cry. The first stanza mocks its enemies - flies bumping against the wall, ants boasting on a tree, winged ants trying to shake it - and reads the autumn wind and the falling leaves above Chang'an as the sign of their decline. The second turns from mockery to programme: the work is urgent, ten thousand years is too long, only 'seize the morning and the evening', and every creature that harms mankind is to be swept away.

小小的地球之上，有几只苍蝇碰壁乱撞。它们嗡嗡叫唤，几声凄厉，几声抽泣。蚂蚁缘着槐树妄想称大国，蚍蜉想撼动大树谈何容易。正逢西风落叶飘下长安之时，传来飞鸣镝般的叫嚣。多少大事，从来紧迫；天地运转，光阴逼迫。等待一万年太久了，必须只争朝夕。四海翻腾，云水发怒；五洲震荡，风雷激荡。要扫除一切害人虫，全世界无敌。

Appreciation

[Plain Paraphrase] The poem answers Guo Moruo's poem of praise with a poem of combat. Its enemies are small and ugly: a few flies bumping against the wall, buzzing; ants crawling on a tree trunk boasting of a great nation; winged ants shaking a tree. The autumn wind stripping the capital tells them their days are numbered. [Structure] The two stanzas are opposites in balance. Stanza one is the enemy, drawn in caricature and dismissed; stanza two is ourselves, a declaration and a promise. Nothing is mixed: bad then good, low then high, mockery then oath. [Imagery] The animals are not animals. Fly, ant and winged ant are chosen for exactly the qualities that make them ridiculous - small, noisy, self-important, unable to move what they push against. Against them stand the boundless forces of the second stanza: surging seas, roaring clouds, wind and thunder. One stanza is tiny and mean, the other unlimited; that scale is the argument. [Evaluation] The language is deliberately plain to the point of coarse - 'a few flies', 'pestilent worm' - and the poem works by insult rather than ornament. That is how it manages two tones at once, the sneer of the first stanza and the oath of the second, delivered in one flat, trenchant voice. It is the clearest example of the poet's claim to despise his enemies strategically while respecting them tactically.

【白话串讲】毛泽东写《满江红·和郭沫若同志》：“小小寰球，有几个苍蝇碰壁”——“蚂蚁缘槐夸大国，蚍蜉撼树谈何易”。“一万年太久，只争朝夕”——“四海翻腾云水怒，五洲震荡风雷激”——他写天下大势。【意象与手法】通篇用比喻与典故入词，政论的内容以诗化的形象出之；语言斩截有力，气势磅礴，是毛泽东豪放词风的代表作。【情感与主旨】表达藐视一切反动派的英雄气概与「只争朝夕」的革命紧迫感，洋溢着国际主义的战斗豪情。【名句点睛】「一万年太久，只争朝夕」以时间对比写出革命者的紧迫感，成为激励人心的名句。

Background

Mao Zedong (1893-1976), courtesy name Runzhi, born in Xiangtan, Hunan, was the principal founder of the Chinese Communist Party, the People's Liberation Army and the People's Republic, as well as a notable poet whose verse spans his whole revolutionary career, 'Qinyuan Chun: Snow' and 'The Long March' among them. In January 1963 Guo Moruo published 'Full River Red: In Praise of the Leader', opening 'when the great waters of the sea cross, the true colours of a hero appear'. Reading it, Mao wrote this reply on 9 January 1963, using the same tune and the same rhyme while changing the subject from praise to combat. The context was the worsening of Sino-Soviet relations and the anti-Chinese chorus in the international press, following the three years of severe economic difficulty. The word 'reply' matters: in the history of the ci, a poem written in the same tune and rhyme can outrank the piece it answers - and here it does.

毛泽东（1893—1976），字润之，湖南湘潭人，中国共产党、中国人民解放军、中华人民共和国的主要缔造者，亦为杰出诗人，诗词创作贯穿其革命生涯，以《沁园春·雪》《七律·长征》等为代表。1963年1月，郭沫若发表《满江红·领袖颂》（「沧海横流，方显出英雄本色」），赞颂毛泽东；毛泽东读后，于1963年1月9日作此和词，次韵而更翻新意，由颂扬转为战斗。时代背景：1960年代初中苏关系恶化，赫鲁晓夫集团掀起反华浪潮，国际上出现反华大合唱；国内经历三年困难时期后，形势逐步好转，毛泽东遂以词为檄，回应国际反华逆流。此词充分体现其「战略上藐视敌人、战术上重视敌人」的一贯思想——把反华势力斥为苍蝇、蚂蚁、蚍蜉，是战略上的蔑视；「只争朝夕」「扫除一切害人虫」，是行动上的紧迫。「和」为和韵之作，与原词同调同韵而内容另辟天地，是词史上「和韵而胜原唱」的范例。又郭沫若原词发表于1963年元旦，毛泽东读后欣然命笔，一日之内和成此词；毛词以「小小寰球」起，气势直欲压倒沧海横流之句，二人唱和，实为当时国际斗争背景下的一次文学回应，亦是领袖与诗人以词论世的佳话。

Art

Written to the Man Jiang Hong measure, this ci is a study in the contrast of scale. Its first stanza is a gallery of the insignificant - flies, ants, a winged ant - each one ridiculed for its own kind of folly and each drawn in three or four words only. The movement runs from the very small to the very large: a fly upon a globe, then ants upon a tree, then the wind over Chang'an, then whistling arrows. The second stanza turns the same machinery the other way. Two seven-character parallel lines - 'the four seas surge and cloud and water roar, the five continents shake and wind and thunder strike' - hold the whole world at once; then the poem closes on three syllables, 'no equal at all', and the door shuts. Between them stands the pivot, 'ten thousand years is far too long: only the morning and the evening are worth seizing'. Here the poem trades metaphor for argument, and the pairing of the longest possible span with the shortest is the sharpest thing in the piece. What makes the poem modern is that its politics are never veiled: it insults, it threatens, it issues orders. Old tricks are put to new use, and the result is a political lyric no earlier ci could have carried.

此词为《满江红》词牌，双调九十三字，艺术特色鲜明。其一，比喻排喻：上片连用「苍蝇碰壁」「蚂蚁缘槐」「蚍蜉撼树」三个比喻，以微小丑类喻国际反华势力，层层贬抑，漫画化而不失气势——苍蝇之聒噪、蚂蚁之妄、蚍蜉之不自量，皆极尽揶揄。其二，对比：宇宙视野下「小小寰球」与「苍蝇」的大小对比，「一万年」与「朝夕」的时间对比，以悬殊落差写藐视与紧迫。其三，用典入词：「蚂蚁缘槐」用《南柯太守传》，「蚍蜉撼树」用韩愈诗，熔典故于新意，旧典新铸。其四，政论入词：下片「多少事，从来急」「只争朝夕」「要扫除一切害人虫」以议论直抒，词而近檄文，开政治抒情词的新境。其五，语言斩截：三字句、四字句短促有力，七言对偶整饬雄放，全词如风雷激荡，气势夺人；上片写敌（贬斥），下片写我（宣言），结构两扇、层次分明。又此词之节奏与情感高度统一：上片以漫画笔法写敌之丑，声调揶揄；下片以宣言笔法写我之雄，声调激越，一抑一扬、一贬一颂，词情随内容陡转，正是毛词「以气驭词」的本色；其以词论政、以典写时，更开当代政治词之新境。

Allusions

'Ants crawling on the locust tree' comes from the Tang tale 'The Story of the South Branch of the Locust Tree' by Li Gongzuo, in which a drunkard named Chunyu Fen wakes from a dream to find himself governor of a nation inside an ant-hole in a locust tree - so the boast is a dream that will not last. 'A winged ant shaking a tree' comes from Han Yu's poem to Zhang Ji, 'a winged ant shakes a great tree, and is laughably unfit for the task', which mocked those who talked ill of the great poets; Mao turns it against his own critics. 'The west wind dropping leaves on Chang'an' reworks Jia Dao's line 'autumn wind rises from the Wei river, leaves cover Chang'an'. And 'whistling arrows' recall the whistling arrows of the Xiongnu, whose leader Modu made them as a signal for his archers, so the sound suggests an attack already under way. Even the pestilent worm answers the formula that all reactionaries are paper tigers.

此词用典密集而皆化为战斗的意象。「蚂蚁缘槐」用唐李公佐传奇《南柯太守传》：淳于棼梦入槐安国，为南柯太守，享尽荣华，醒来乃槐树下一蚁穴——蚂蚁缘槐而自称大国，终是一场春梦，喻反华势力妄自尊大、好景不长；「蚍蜉撼树」用韩愈《调张籍》「蚍蜉撼大树，可笑不自量」，蚍蜉为大蚂蚁，以蚍蜉撼大树喻反华势力自不量力，韩愈原诗讥妄议李杜者，毛泽东借以讥反华叫嚣；「西风落叶下长安」化用贾岛《忆江上吴处士》「秋风生渭水，落叶满长安」，以萧瑟秋景喻反动势力之衰颓，如秋风扫落叶；「飞鸣镝」本为匈奴冒顿单于发明的响箭（《史记·匈奴列传》「鸣镝」），以响箭之鸣写反华喧嚣之来势，亦暗含其已成强弩之末；「害人虫」喻一切反动派，承其「一切反动派都是纸老虎」之论的诗化。全词以典故反用、旧典新铸，赋予传统意象以国际斗争的新内涵，是毛词用典的典型。又「正西风落叶下长安」之「西风」在中国古典诗词中常喻衰颓之势（如《诗经》「西风」意象），毛泽东以之写国际反华势力之秋气已深，正合「落叶」之喻，旧意象新用，深得比兴之旨，亦见毛词熔铸古典而不为古典所囿的大家手笔。

Commentary

This is the representative of Mao's international verse and one of the high points of the bold style in twentieth-century Chinese poetry. It answers the Man Jiang Hong of Yue Fei, who wrote of the shame of Jingkang not yet avenged and longed to recover the old territory; with the same tune and the same rhyme, one writes a nation's grief and the other a revolutionary's defiance. Readers have long said that Mao's poem overwhelms its predecessors with revolutionary spirit, and in one sense that is fair: where Yue Fei's grief is personal and historical, this is universal and programmatic. The line 'ten thousand years is far too long' is among the most quoted of all Mao's verses and has passed into everyday Chinese as a way of saying there is no time to lose. Artistically the poem offers a model for political lyric: imagery instead of argument, insult used as a weapon, and a traditional form put to contemporary attack. Of Guo's original poem very little survives, and the reply has become the better poem - which is often the fate of a rhymed reply.

此词为毛泽东国际题材政治词的代表作，也是当代豪放词的巅峰之一。它与《满江红》词牌的历史传统（岳飞「怒发冲冠」）遥相呼应：岳飞以《满江红》写报国之志，毛泽东以《满江红》写国际斗争，同调而各极其致，一为民族悲愤，一为革命豪情；论者谓毛泽东此词「以革命气概压倒前人」，非虚语。其「藐视敌人」的乐观主义与「只争朝夕」的进取精神，曾激励一代人；「一万年太久，只争朝夕」更成为流传最广的毛泽东词句之一，进入日常语汇，用于形容时不我待。艺术上，以典故写时事、以比喻写政治，为政治抒情诗提供了范式；文学史上，其以词写国际斗争，拓展了词的表现领域，与苏轼、辛弃疾的豪放传统一脉相承而时代精神全新。郭沫若原唱传世不广，和作反成绝唱，亦见「和韵」之妙。此词今入选多种诗词选本与教材。就传播史言，此词发表后迅速传诵全国，其「只争朝夕」「扫除一切害人虫」等语成为时代流行语；时至今日，其以诗写史的文献价值与以词言志的文学价值并重，为研究毛泽东晚年思想与当代诗词提供了珍贵文本。

Prosody

Form 'Man Jiang Hong' measure (two stanzas, ninety-three characters; four rhymes in the first stanza, five in the second)《满江红》词牌（双调九十三字，上片四仄韵、下片五仄韵）

Rhyme The whole poem rhymes in the entering tone - wall, cry, easy, arrow, urgent, pressing, evening, roar, strike, no equal. Entering-tone words are short, sharp and stopped, which suits a poem of combat; read aloud they go off like rounds from a cannon. Within the first stanza 'a few shrill cries, a few sobbing breaths' keeps up the rhyme like drumbeats in a row.全词押入声韵（壁、泣、易、镝、急、迫、夕、激、敌），入声字短促重浊，一韵到底，声情激越，正合战斗主题；「嗡嗡叫，几声凄厉，几声抽泣」句内仄声连用，如鼓点连击。

Tone pattern The first stanza opens with a four-character line and breaks into short three- and four-character lines; the second runs through paired three-character lines and closes with a three-character line that stops dead. Long and short lines alternate, and the pace is set by the emotion: sneering, then urgent, then roaring, then cut.上片以长句起（小小寰球）、短句顿（嗡嗡叫），下片以三字对（多少事，从来急；天地转，光阴迫）急促推进，七言对偶（四海翻腾云水怒，五洲震荡风雷激）整饬雄放，末以三字短句（全无敌）戛然收束；句式长短疾徐，随情起伏，如风雷之骤发。

Reading note The Man Jiang Hong tune is a stopped-tone measure, and Liu Yong and Yue Fei both used the entering sound, which is short, thick and sharply closed - the sound best suited to a violent feeling. Mao keeps it throughout: the rhyme words are wall, sobbing, easy, arrow, urgent, pressing, evening, roar, strike, and there is not one relaxed sound in the poem. Read aloud, it goes off like a string of firecrackers, like drums advancing; the sound is exactly right for a declaration of war. The line-lengths are managed with equal care. The first stanza begins with a four-word line looking down from above, then steps in to three words (they buzz), then to paired four-word phrases. The second stanza runs the paired three-word lines together again and again, so that the verse trots forward like an army on the march, until 'the four seas surge and cloud and water roar, the five continents shake and wind and thunder strike' takes the whole sky, and the poem closes on three words - no equal - like thunder in an empty sky. The strict form and the boundless feeling hold each other; that is the secret of the old bottle with new wine.此词严守《满江红》词牌格律而声情极见匠心。《满江红》本为仄韵词牌，柳永、岳飞皆押入声韵，入声字短促、重浊、戛然，最宜抒激越之情；毛泽东此词一韵到底，押壁、泣、易、镝、急、迫、夕、激、敌九字，皆入声韵部，全词读来如连珠炮发、鼓点频催，正与「战斗宣言」的内容相合——这是「择韵以就情」的典范。句式上，上片以长句起（「小小寰球」四字领起）、短句顿（「嗡嗡叫」三字）、四字对（「几声凄厉，几声抽泣」），长短错落，如先俯瞰后逼近；下片「多少事，从来急；天地转，光阴迫」三字对偶连排，音节急促，如战鼓催征；「四海翻腾云水怒，五洲震荡风雷激」七言对偶，整饬雄放，是全词声情的最高点；末以「全无敌」三字短句戛然收束，如雷霆震空、余响不绝。全词平仄合律而气势破律而行，以词牌之格律驭万丈之豪情，正是毛词「旧瓶装新酒」而青出于蓝的声律奥秘。

Line by line

小小寰球，有几个苍蝇碰壁。嗡嗡叫，几声凄厉，几声抽泣。

On this little globe, a few flies are bumping against the wall. They buzz - a few shrill cries, a few sobbing breaths.

小小的地球之上，有几只苍蝇碰壁乱撞。它们嗡嗡叫唤，几声凄厉，几声抽泣。

On this tiny globe, a few flies dash themselves against the wall. Humming away, a few shrill cries, a few sobs.

此三句开篇定调，以宇宙视野写蔑视。「小小寰球」以「小小」形容地球，极言世界之小、敌人之微——在革命者眼中，偌大地球不过「小小」，几只苍蝇更如微尘，开篇即以气魄夺人；「有几个苍蝇碰壁」用比喻写反华势力到处碰壁、走投无路的窘态，漫画笔法，「几个」写其少而丑；「嗡嗡叫」以拟声写其聒噪不休，烦人之态毕现；「几声凄厉，几声抽泣」以声写其由凶而怯、由强而弱的狼狈——「凄厉」是其色厉内荏的嘶叫，「抽泣」是其失败前的哀鸣，两声相对，先凶后怯，如见其态；三句以声写形、声色并作，敌人之丑态毕现，而革命者之从容蔑视亦寓其中；语言上长短句错落，「嗡嗡叫」三字短句急促，如闻其声；此三句定下全词「藐视」的基调，以下「蚂蚁」「蚍蜉」之喻皆承此而来。

The flies. On this tiny globe, a few flies dash themselves against the wall. Humming away, a few shrill cries, a few sobs. The tiny globe and the flies dashing against the wall are the opening. To have dashed against the wall would be a dashing; the on-this-tiny-globe-a-few-flies-dash-themselves-against-the-wall-humming-away-a-few-shrill-cries-a-few-sobs is the dashing.

蚂蚁缘槐夸大国，蚍蜉撼树谈何易。正西风落叶下长安，飞鸣镝。

An ant on the locust tree boasts of a great nation; how easy is it for a winged ant to shake a tree? Now the west wind is stripping the capital, and arrows whistle as they fly.

蚂蚁缘着槐树夸耀自己是大国，蚍蜉想撼动大树谈何容易。正逢西风落叶飘下长安之时，传来飞鸣镝般的叫嚣。

Ants on the locust tree boast of a great kingdom; mayflies shaking a tree—how easy! Just as the west wind sweeps leaves down on Chang'an, the whistling arrows fly.

此四句以两个典故喻反华势力的自不量力，并以衰颓之景判其末路。「蚂蚁缘槐夸大国」用《南柯太守传》——蚂蚁缘槐而自称槐安大国，终是一场春梦，直刺当时妄自尊大者，妙在「夸」字写其自我吹嘘之态；「蚍蜉撼树谈何易」用韩愈诗，以大树（革命力量）与蚍蜉（反华小丑）的悬殊对比，写其徒劳，「谈何易」以口语入词，轻蔑之极；两句一梦一喻，层层贬抑。「正西风落叶下长安」化用贾岛「秋风生渭水，落叶满长安」，以秋风扫落叶写敌人之衰象，寓「落木萧萧」的必然败亡，「正」字点明其时；「飞鸣镝」以匈奴响箭写反华叫嚣，箭响而人衰，正是末路强音。四句典、喻、景、声交织，冷嘲与蔑视并举，是上片收束的强音，亦为下片「只争朝夕」的战斗宣言蓄势，章法上承上启下。

The ants. Ants on the locust tree boast of a great kingdom; mayflies shaking a tree—how easy! Just as the west wind sweeps leaves down on Chang'an, the whistling arrows fly. The ants on the locust boasting and the mayflies shaking the tree are the allusions. To have shaken the tree would be an allusion; the ants-on-the-locust-tree-boast-of-a-great-kingdom-mayflies-shaking-a-tree-how-easy-just-as-the-west-wind-sweeps-leaves-down-on-chang'an-the-whistling-arrows-fly is the allusion.

一万年太久，只争朝夕。

Ten thousand years is far too long; only the morning and the evening are worth seizing.

等待一万年实在太久了，革命者不能坐等，必须抓住朝夕、分秒必争地干起来。这是全词由贬斥敌人转入战斗宣言的关键一句。

Ten thousand years are too long; seize the day, seize the hour.

此八字是全词的思想精华，以时间哲学写革命者的紧迫感。「一万年」极言时间之长久，「太久」一笔判其不可待——革命不能坐等敌人自然消亡，不能寄望遥远的未来，字字斩截；「只争朝夕」以最短的时间单位（朝与夕）对「一万年」，将无限压缩为瞬间，把革命必胜的信念化为分秒必争的行动——「争」字是眼，写主动进取、时不我待；对仗精工（一万年/只争朝夕，数词对数量、久长对短促），节奏斩截，读来掷地有声。此句既是针对国际斗争的宣言，更升华为普遍的人生哲学——时不我待，立即行动；它超越具体语境，成为激励一切奋斗者的格言，也是全词由贬敌转向自励、由批判转向战斗的关键转折点；其以最大与最小的时间单位对举，胸襟之阔、气魄之雄，正是毛词「以俗为雅、举重若轻」的本色。

The hours. Ten thousand years are too long; seize the day, seize the hour. The ten-thousand-years-too-long and the seize-the-day are the core. To have seized the hour would be a seizing; the ten-thousand-years-are-too-long-seize-the-day-seize-the-hour is the seizing.

四海翻腾云水怒，五洲震荡风雷激。要扫除一切害人虫，全无敌。

The four seas surge and cloud and water roar; the five continents shake and wind and thunder strike. Sweep away every pestilent worm that harms men - and there will be no equal at all.

四海翻腾，云水发怒；五洲震荡，风雷激荡。要扫除一切害人虫，全世界无敌。

The four seas rise, clouds and waters rage; the five continents shake, wind and thunder thunder. Sweep away all the pests—wholly invincible.

下片结拍以铺天盖地的意象写革命形势，是全词气势的最高点。「四海翻腾云水怒，五洲震荡风雷激」两个七言对偶，以云水、风雷写全世界被压迫人民的觉醒与反抗，「翻腾」「震荡」写其势，「怒」「激」拟人化，天地山川皆成战斗者，声威浩大，是革命浪漫主义的极致；「要扫除一切害人虫」以斩钉截铁的宣言收束，「一切」见决心之彻底，不作任何保留；「全无敌」三字短句收尾，戛然而止，如雷霆震空，与上片「苍蝇」「蚍蜉」之喻遥相呼应——小丑虽噪，胜利必属革命人民；语言上七字对偶的整饬与三字短句的峻急相间，声情激越；此句以「敌—我」对照作结：上片之敌何等渺小可笑，此片之我何等雄强无敌，对比之中，全词「藐视敌人、相信人民」的主旨完成闭环，余响不绝。

The sweep. The four seas rise, clouds and waters rage; the five continents shake, wind and thunder thunder. Sweep away all the pests—wholly invincible. The raging four seas and the sweeping-away-all-pests are the close. To have swept away the pests would be a sweeping; the the-four-seas-rise-clouds-and-waters-rage-the-five-continents-shake-wind-and-thunder-thunder-sweep-away-all-the-pests-wholly-invincible is the sweeping.

Study

Word focus

只争朝夕 The most quoted words in the poem and its intellectual centre. 'Morning and evening' are the shortest units of time, set against 'ten thousand years', the longest; the contrast reduces waiting to nothing. The verb 'strive' is the eye of the line: waiting is passive, seizing is active, and the whole line argues that a revolutionary cannot sit still and let history do the work. The phrase began in classical sources but here it is new coinage with a new meaning, and it has entered modern Chinese as a common way of saying that there is no time to lose. 「只争朝夕」四字是全词流传最广的语词，其力量在时间意象的浓缩与对比。「朝」「夕」为一昼夜，是最短的时间单位，与上句「一万年」的悠长形成悬殊对比——万年的等待太久，唯有朝夕之争才是革命者的姿态；「争」字是全词之眼，化被动等待为主动进取，把时间从「流逝之物」变为「争夺之物」，写出革命者与时间赛跑的紧迫感。就语源言，「朝夕」出于《书·说命》「朝夕纳诲」等古语，而「只争朝夕」为毛泽东新铸，以旧词得新义，凝练有力；就影响言，此四字超越具体语境，成为形容「时不我待、立即行动」的通用格言，进入现代汉语的常用语汇，其凝练程度与「只争朝夕」的节奏（二二顿挫）互为表里，读来掷地有声，是毛词「以浅语铸警句」的典范。

飞鸣镝 Built on the Xiongnu story in the Records of the Grand Historian: their leader Modu made whistling arrows, and wherever they struck, that place was to be shot at, so the sound was a signal to the whole army. Here it stands for the clamour of the anti-Chinese chorus arriving like arrows. Three characters, three effects: flying gives the speed, whistling gives the noise, and the whistling arrow itself gives the edge. Yet it comes right after 'the west wind is stripping the capital', so the arrows sound in an autumn already falling: the louder the noise, the nearer the end. The old story is reused for a new quarrel. 「飞鸣镝」三字用《史记·匈奴列传》典故：匈奴冒顿单于制鸣镝（响箭），以之号令部众，「鸣镝所指，即射之」，此处借指反华叫嚣如响箭之来。「飞」「鸣」「镝」三字各有其妙：「飞」写其来势之迅疾，「鸣」写其声之喧嚷（呼应上片「嗡嗡叫」），「镝」为箭头，写其锋芒之锐利——三字以响箭写反华浪潮之汹汹来势，却正接「西风落叶」的衰颓之景，箭虽响而秋已深，来势愈凶，败亡愈近；以三字名词性短语作结上片，音节短促有力，如闻箭镞破空之声。此词之妙在「以典写时事」：匈奴鸣镝本是强者号令天下的利器，此处反用以写反华小丑之声，正合「战略上藐视敌人」之意；旧典新铸，古为今用，是毛词用典的典型手法。

害人虫 In 'sweep away every pestilent worm', this plain, colloquial term is the summing-up of the poem's enemies, and it answers the flies, ants and winged ants of the first stanza. 'Worm' is small and ugly; 'harmful' says what is wrong with it, and that is the reason it should be swept away - to attack here is hygiene, not cruelty. The poem is organized by naming: three insect words in the first stanza, one summary word in the second, and the same colloquial voice in both. 「要扫除一切害人虫」之「害人虫」是口语化的比喻语词，与上片「苍蝇」「蚂蚁」「蚍蜉」呼应，组成全词的「丑类意象群」。「虫」为微小丑陋之物，以「害人虫」称反动派，极尽轻蔑；「害人」二字点其本质——其罪在害人，故必扫除，是「其罪当诛」的定性；此语承毛泽东「一切反动派都是纸老虎」之论，把政治判断化为民间口语，通俗而有力，正合「人民的语言」的要求。就结构言，「害人虫」与「苍蝇」「蚂蚁」「蚍蜉」前后呼应：上片以三个比喻写其丑态，下片以「害人虫」总其定性，一散一整，纲目分明；就气魄言，「扫除」二字斩截，「一切」二字彻底，「全无敌」三字如雷，以口语入词而气势不减，正是毛词「以俗为雅、雅俗共赏」的本色。