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太阳礼赞

Ode to the Sun

郭沫若

Guo Moruo

名篇Masterpiece 浪漫主义Romanticism 太阳The sun 新诗New verse

青沉沉的大海，波涛汹涌着，潮向东方。
光芒万丈地，将要出现了哟——新生的太阳！

Over the dark blue sea the waves rise in tumult and the tide runs east. A light of ten thousand ray is about to appear — a sun that is newly born.
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Meaning

The opening of a poem that praises the sun as the emblem of a new age. The sea is dark and moving and the light is on the point of coming; the poem's work is to hold the dark long enough for the arrival to be heard. Its subject is not the sun as a natural object but as the herald of a rebirth.

青沉沉的大海上，波涛汹涌着，潮水向着东方奔涌而去。光芒万丈地，将要出现了哟——新生的太阳！

Appreciation

[Structure] Three images building and one line arriving. The sea is set, then stirred, then given a direction, and only after all three does the sun speak, so the poem is arranged as a rising poised before its own conclusion. [Imagery] The three images are in sequence: colour, motion, direction — dark, tumult, east — and the sequence carries the reader toward the place where light comes from. [The close] The last line is built as a declaration rather than a statement: the words for the light are placed first, a particle of feeling is added, a dash draws out the announcement, and the sun is given an epithet it did not need and could not have had. [Contrast] Everything preceding it is dark and heavy; the light is described as about to appear, and the poem's energy is in that future tense.

【白话串讲】 郭沫若写《太阳礼赞》：“青沉沉的大海，波涛汹涌着，潮向东方”。“光芒万丈地，将要出现了哟——新生的太阳”——他写对太阳与新生的礼赞。 【意象与手法】 此段是《太阳礼赞》的开篇，意象壮阔、气势磅礴：「青沉沉的大海」「波涛汹涌」「潮向东方」层层铺陈，如海潮般推向高潮；「光芒万丈地，将要出现了哟——新生的太阳」以破折号拉长呼喊，情感喷薄而出。「青沉沉」的沉郁与「光芒万丈」的辉煌形成强烈对比，黎明前的黑暗与太阳的新生互相映照。 【情感与主旨】 《太阳礼赞》写于1921年，是郭沫若《女神》时代热情讴歌光明与革命的诗篇：太阳是新生、革命、创造的象征，「新生的太阳」正是五四时期中国觉醒与新生的自我写照。诗人以「礼赞」的崇高姿态，宣告旧世界的黑暗将尽、新世界的光芒将临，是五四时代精神最激昂的诗性表达。 【名句点睛】 常考「光芒万丈地，将要出现了哟——新生的太阳」的破折号抒情与「青沉沉的大海，波涛汹涌着，潮向东方」的意象蓄势：一写等待之壮，一写新生之辉，是郭沫若浪漫主义诗风「力的美学」的集中体现。

Background

The poem opens the collection that made the young Chinese verse modern. Guo Moruo had gone to Japan in 1914, and the May Fourth movement of 1919 reached him there, so that he wrote in response to news from home; the collection appeared in 1921 and was the first important volume of the new verse. Its poems were written between 1919 and 1921, and its manner — a self expanded until it held the world, images that refuse to settle, exclamation instead of argument — was entirely new. This particular poem comes from the period when the poet was reading the American poet Whitman and the pantheistic philosophy of Spinoza, and it is among the most mature lyrics in the collection.

《太阳礼赞》是现代文学奠基人郭沫若（1892—1978）的诗篇，收于其诗集《女神》（1921年出版）。郭沫若原名郭开贞，四川乐山人，1914年赴日留学，1919年五四运动爆发后，他身居日本，却以诗响应国内的觉醒浪潮，在《时事新报》副刊《学灯》等刊物发表大量新诗，1921年结集为《女神》出版，成为中国新诗史上的第一部重要诗集，开创了浪漫主义新诗的纪元。《女神》中的诗多写于1919至1921年间，以狂飙突进式的激情、汪洋恣肆的想象与「破旧立新」的呐喊，喊出了五四时代「彻底反帝反封建」的最强音——郭沫若自述写诗时「差不多是发狂的」，其诗是「火山爆发式的内发情感」的直接喷涌。《太阳礼赞》正是这一时期的代表作：1921年前后，郭沫若一方面深受泛神论、惠特曼《草叶集》与歌德的影响，主张「诗是人格的表现」，另一方面目睹军阀混战、旧中国沉沦，遂以太阳为象征，讴歌新生的力量。全诗以「礼赞」为题，将太阳人格化、神圣化，本段为开篇——以青沉沉的大海、汹涌的波涛、东向的潮水为背景，引出「光芒万丈地，将要出现了哟——新生的太阳」的欢呼，是《女神》中「光」与「力」美学的典型呈现。

Art

The passage is constructed as a deliberate pause. The first sentence is deliberately static in the middle of its own motion: three clauses, each of which only arranges the next, so that the reader is held at exactly the height from which the light will be visible. The words chosen are heavy and cold — dark blue, tumultuous — and their weight is what the last line is measured against. The final sentence breaks the sentence's grammar in three ways: the phrase for the light is moved to the front, an interjection is inserted, and a dash is used to hold the announcement before the subject arrives. The result is a line built like a shout rather than like a clause, and the deformation is the poem's principal technical achievement.

此段的艺术特色，可析为「意象蓄势、句式喷发、色彩对比」三端。其一，意象蓄势：全段以三个意象层层铺垫——「青沉沉的大海」立背景，写黎明前的深沉静穆；「波涛汹涌着」起波澜，写海的翻腾动荡；「潮向东方」指方向，写潮水奔涌而去的动态与目标。「海—波—潮」由静而动、由面而线，如镜头逐渐拉近，把读者的视线引向东方天际，为太阳的出场蓄足气势。其二，句式喷发：「光芒万丈地，将要出现了哟——新生的太阳」是全段的高潮，以「光芒万丈地」的状语前置写光之盛，以「哟」的感叹词写情之激，以破折号拉长呼喊的余音，以「新生的太阳」的定语「新生」点明性质——句式的断裂与拉长，正是郭沫若「情感的火山爆发」在语言上的体现，如喷泉般不可遏止。其三，色彩对比：「青沉沉」的暗色调与「光芒万丈」的亮色调，黎明前的黑暗与将现的辉煌，形成强烈的明暗对比——黑暗愈沉，光明愈烈，这一对比既是写景，也是象征：旧世界的沉沦愈深，新世界的诞生愈壮，是《女神》「毁坏与创造」主题的缩影。全段由铺陈到喷发、由沉郁到辉煌，节奏如海潮般层层推高，正是浪漫主义「力的美学」的典范。

Allusions

The sun had been the emblem of imperial authority and of mythical aspiration in classical Chinese verse, and the new poetry made it the sign of a future rather than a past. The sea running to the east is a movement the whole tradition had understood as the direction of light. The poet’s own notes on his reading that he was most influenced by Whitman, and the ocean, the surge and the all-embracing lyric self of this passage are borrowed in that line. The philosophy that made him see the whole of nature as divine also made the sun the most sacred of natural objects, and the poem is an act of worship with the God quite unmentioned.

「太阳」意象在郭沫若的诗中具有深远的文学与文化渊源。其一，中国文学的太阳传统：自《楚辞·九歌·东君》「暾将出兮东方，照吾槛兮扶桑」礼赞日神，到李白「日出东方隈」、苏轼「暾暾日色」的咏日之作，太阳在中国文学中一直是光明、权威与生命力的象征；郭沫若的《太阳礼赞》承此传统而赋以现代革命的「新生」内涵——太阳从自然崇拜的对象变为时代新生的化身。其二，泛神论的思想底色：郭沫若留日期间深受斯宾诺莎泛神论影响，认为「一切自然都是神的表现」，太阳作为自然力的极致，正是「神」的化身——「新生的太阳」即「新生的神」，诗人以礼赞太阳为礼赞宇宙的生命力，这使全诗超越了单纯的写景，带有泛神论的哲学高度。其三，「东方」的象征意味：潮向东方、日出东方，「东方」在此既是地理方位，也是文明的方向——五四时期「东方睡狮觉醒」的话语中，东方是复兴的起点，郭沫若以「潮向东方」暗含民族新生的期盼。其四，与惠特曼的呼应：郭沫若自述其诗「受惠特曼的影响最深」，惠特曼《草叶集》中「向着大海」「向着太阳」的雄浑歌唱，正是《太阳礼赞》「海潮—太阳—礼赞」结构的直接先声，可见世界浪漫主义诗歌对中国新诗的滋养。

Commentary

Read as the opening of the collection that founded Chinese romantic verse, the passage shows what the new poetry thought it had achieved: a language loud enough to carry a public feeling, and a rhythm that follows emotion rather than metre. When Wen Yiduo wrote that the collection was the child of its age, this was the kind of poem he had in mind. Later readers have been less certain about the volume, and the exclamation marks and dashes look very strange beside the restraint of the Crescent Moon poets who were meanwhile perfecting the craft of the same decade. The poem has also aged into a document: it records what the May Fourth generation believed about dawn.

《太阳礼赞》在郭沫若创作与中国新诗史上都有标志性意义。就郭沫若个人创作而言，此诗是其「《女神》时代」激情喷发的产物——同一时期的《天狗》《凤凰涅槃》《炉中煤》皆以「自我扩张」「光明礼赞」为基调，而《太阳礼赞》以太阳为核心意象，将个人的激情与民族的觉醒熔于一炉，是其浪漫主义诗风的成熟标志。就中国新诗史而言，《女神》1919—1921年的创作实践，确立了新诗「以内在情感为动力、以自由形式为载体」的美学原则，《太阳礼赞》的「光芒万丈地，将要出现了哟」式呐喊，正是新诗由「白话化」走向「诗性化」的关键一步——它证明白话不仅能够写诗，更能写出惠特曼式的磅礴激情，闻一多评郭沫若「《女神》是时代的肖子」，正指这种与五四精神同频共振的呐喊。就思想史而言，此诗「新生的太阳」意象，是五四时期「旧邦新命」「破坏—创造」时代话语的诗性表达：旧世界如青沉沉的大海般沉郁，新世界如光芒万丈的太阳般将临，这一「黎明—朝阳」的叙事结构，影响了几代中国知识分子的历史想象。此外，全诗「力的美学」——大海的汹涌、潮水的奔涌、光芒的万丈——也奠定了郭沫若「雄浑豪放」的诗风基调，与徐志摩的柔美、戴望舒的哀婉并立，构成中国现代诗歌的多元面貌。

Prosody

Form Modern free verse in the manner of the collection that made the new verse modern; no fixed measure, no fixed rhyme现代自由诗（郭沫若《女神》体，浪漫主义新诗）
Rhyme There is no rhyme, but the same open vowels return at the ends of the lines — east, appear, sun — and the ear reads the repetition as a rhyme. The effect is of a bell struck once and still ringing when the next line begins.本段为自由诗，不押韵，而以「东方」「太阳」等开口呼韵母的呼应构成声韵的洪亮：「方」「阳」皆阳韵部，前呼后应，如钟声回荡；「青沉沉」「汹涌着」「万丈地」的叠词与长音，营造出海潮般的节奏，全段读来气势磅礴、朗朗上口。
Tone pattern The opening three lines are even in rhythm and low in pitch; the last line breaks the evenness deliberately and rises through three levels to a shout, so the whole passage is shaped as an accelerando.句式先缓后急、由铺陈到喷发：前三句以「大海」「波涛」「潮」的意象平铺，句式相对齐整，如潮水层层推涌；末句「光芒万丈地，将要出现了哟——新生的太阳」以状语前置、感叹词与破折号拉长节奏，如海啸骤起，语调由沉郁陡然转为激昂，正合「礼赞」的崇高基调。
Reading note The passage is the clearest statement of the poet’s theory that the rhythm should follow emotion rather than measure. There is no metre to detect and none is wanted: the cadence is the cadence of a growing sound, and the technique is to keep the first three lines level and then to spend everything in the fourth. The reader who reads it aloud will find that the pace he falls into is the pace of something about to happen.《太阳礼赞》的音乐性，是郭沫若「情绪的自然节奏」理论的实践——他主张「诗是情绪的直写」，节奏应随情感的起伏而起伏，本段即是明证。全段不押韵而自有洪亮之声：开篇「青沉沉的大海，波涛汹涌着，潮向东方」以「海、着、方」的开口音收句，音节沉雄浑厚，如海潮的低鸣；「青沉沉」「汹涌」「万丈」等叠词与长音词组密集，营造出厚重绵长的声浪；末句「光芒万丈地，将要出现了哟——新生的太阳」则出现全段的声调高潮——「光芒万丈」四字字字响亮，「哟」以感叹词拉长呼喊，破折号将声音撕裂延长，「新生的太阳」以「阳」字收在洪亮的阳韵上，如钟磬长鸣、余音不绝。句式的安排也服务于此：前三句结构相对规整（名词+形容词/动词短语），如潮水一波一波地推涌；末句突然以状语前置、插入感叹、拉长破折号，句式断裂而情感喷薄，如海潮终于冲上堤岸——这正是郭沫若所谓「情绪的节奏」：不是格律的整齐，而是情感由积蓄到爆发的自然节律。全段读来，如立于黎明前的海岸，先闻海潮之声，再迎万丈光芒，声情与意象完全合一，是自由诗「以情驭声」的典范，也是《女神》狂飙式激情在音乐性上的完成。

Line by line

青沉沉的大海，波涛汹涌着，潮向东方。

Over the dark blue sea the waves rise in tumult and the tide runs east.

青沉沉的大海之上，波涛汹涌翻腾着，潮水一路奔涌着流向东方，为太阳的升起蓄势。

The deep dark green sea, waves surging, the tide rolling east.

开篇三句以大海立象，是全诗壮阔背景的铺陈，也是太阳出场的「前奏」。「青沉沉的大海」写黎明前海的色彩与气氛——「青沉沉」三字叠词，青写其色、沉沉写其重，海在破晓前显得深沉、静穆而蕴蓄着力量，如一个屏息等待巨变的巨人；「波涛汹涌着」写海的动——「汹涌」本写水势翻腾，「着」字表示进行时态，波涛正翻涌不息，静穆的海面下暗流激荡，与「青沉沉」形成静中有动的张力；「潮向东方」写潮的指向——「潮」是海最有力的运动，向东奔涌而去，「向东方」点明方向，也是全诗的伏笔：东方正是太阳升起之处，潮水奔涌向东方，恰如万物的期待都朝向那将现的光明。三句由色而形、由形而向，如镜头由远及近、由静入动，把读者的目光引向东方天际，为「光芒万丈地」的太阳出场铺就了宏阔的舞台，也暗合「百川归海、万流朝宗」的自然意象。

The sea. The deep dark green sea, waves surging, the tide rolling east. The deep green sea surging east is the prelude. To have surged east would be a surging; the the-deep-dark-green-sea-waves-surging-the-tide-rolling-east is the surging.

光芒万丈地，将要出现了哟——新生的太阳！

A light of ten thousand ray is about to appear — a sun that is newly born.

光芒万丈地，太阳就要出现了哟——一个全新的、新生的太阳即将升起！

In a blaze of light, it is about to appear—the new-born sun!

末句是全诗的火山喷发点，也是「礼赞」主题的直接呈现，情感的强度在前三句的蓄势之后骤然爆开。「光芒万丈地」以状语前置写光之盛——「光芒」言其明，「万丈」言其盛，四字先声夺人，太阳未出而其光已罩天地；「将要出现了哟」写时间的临界——「将要」写将现未现的一瞬，「出现」写升起的动作，「哟」以感叹词注入诗人的激情，如欢呼、如呐喊，把等待的焦灼与盼望的喜悦一并倾泻；「——新生的太阳」以破折号引入，既是补充也是重锤——「新生的」三字是全诗的灵魂：这不是平常的太阳，而是「新生」的太阳，是旧夜终结、新日肇始的象征。此句的句式极富表现力：长句被「哟——」拉长、撕裂，如呐喊的余音，郭沫若「情感的火山爆发」之说于此得到最直观的印证。其深层意味在于「礼赞新生」：太阳之新，即时代之新、民族之新、自我之新，五四的觉醒者正是在这「将要出现」的临界时刻，以全部的热情礼赞那喷薄欲出的光芒。

The sun. In a blaze of light, it is about to appear—the new-born sun! The blaze-of-light about-to-appear and the new-born sun are the eruption. To have been about to appear would be an about-to-appear; the in-a-blaze-of-light-it-is-about-to-appear-the-new-born-sun is the about-to-appear.

Study

Word focus

青沉沉 Dark blue, deep blue: the colour of the sea before dawn, a colour that is nearly black. The reduplicated form makes the colour heavy as well as deep, and the weight of the phrase is what the light has to overcome. 「青沉沉的大海」之「青沉沉」是叠词构景的传神之笔，写尽黎明前大海的深沉与静穆。「青」写海色——破晓前的海不是碧蓝，而是青灰、青黑，色彩冷郁；「沉沉」以重言写其深、其重、其静——海面如铅般沉坠，气氛如夜般凝重，仿佛万物都屏息等待。「青沉沉」三字的妙处有三：其一，以色彩定基调——全诗以「青沉沉」的暗色起笔，与「光芒万丈」的亮色形成强烈对比，黑暗愈沉，光明愈烈；其二，以叠词写质感——「沉沉」使海从视觉的色变为触觉的重，读者仿佛感到那沉甸甸的、压着黎明的海面；其三，以静衬动——「青沉沉」的静与「波涛汹涌着」的动相对，静中蓄动，如火山将喷未喷的一瞬。郭沫若好用叠词写景（《天狗》「我便是我呀」、炉中煤的「活埋在地底多年」），「青沉沉」正是其叠词艺术的代表：三字既见色彩又见分量，为太阳的出场布下最厚重的背景。
汹涌 Tumultuous, surging. The word belongs to the family of terms the poet uses for force throughout the collection, and here it is the sea's own force, which the light is about to displace. 「波涛汹涌着」之「汹涌」是写海之动的核心动词，也是《女神》「力的美学」的词汇标志。「汹涌」本写水势翻腾上涌，二字皆从水，「汹」言其势大、「涌」言其上升，合观即「大水翻涌而上」之貌；加「着」字表进行时，波涛正在翻涌，不是静止的描写而是动态的呈现。「汹涌」之妙在于「力」：它不是柔波微澜，而是排山倒海的奔涌——海的力、自然的力、以及诗人内心喷薄的力，皆由这二字托出。在《女神》的语汇系统中，「汹涌」「澎湃」「奔腾」「火山」等词反复出现，构成郭沫若特有的「力度型词汇群」，其来源是惠特曼式的大海意象与泛神论的自然崇拜——海是宇宙生命力的化身，「汹涌」的海正是诗人「扩张的自我」的外化。此词与「青沉沉」「潮向东方」配合，由静而动、由动而向，大海的生命力层层激活，恰如诗人情感的潮水，即将在「光芒万丈地」一句中决堤而出。
新生 Newly born, freshly alive. The epithet is what makes the sun an event rather than a phenomenon, and it carries the whole of the era's belief that a new country had come out of the old one. 「新生的太阳」之「新生」是全诗的点睛之词，也是《女神》时代精神的浓缩。「新生」义为重新获得生命、刚刚诞生，郭沫若以此修饰太阳，赋予这个自然天体以「从旧中诞生」的划时代意味——太阳不是每天例行的东升，而是「新生」的创世纪：旧夜已死，新日方生。此词的深意有三：其一，时代的内涵——五四时期「破坏旧世界、创造新世界」的时代主题，凝于「新生」二字，太阳的新生即中国的新生、民族的新生；其二，哲学的内涵——郭沫若的泛神论视自然为神的表现，太阳的「新生」即宇宙生命力的不断创化，与《凤凰涅槃》「火里再生」的母题同构；其三，情感的强度——「新生」不是「初升」「再升」等中性词，而是带有宗教般神圣感与革命般决绝感的词，诗人的礼赞因此超越了对自然景观的欣赏，而成为对「新生」本身的崇拜。一词之重，压住了全诗的秤杆：「新生」二字使《太阳礼赞》从一首咏日诗升华为一首时代宣言，这正是郭沫若炼字见道的功力。

Related Reading

太阳 The Sun 艾青 · 同写太阳的新生，一为呐喊一为沉思 The same figure sixteen years later, and the same structure with the emotion displaced.

The later poem describes a sun coming out of a lost age, out of the years of the dead and toward the sleeping mountains, and the poet receives it as something heavy and inevitable that rolls toward him. The earlier poem has no observer at all and the sun is simply about to appear. The change from ecstasy to weight is the change from 1919 to 1937, and the pair shows how the modern poem kept altering the same symbol to fit a different country.

艾青《太阳》「从远古的墓茔，从黑暗的年代，从人类死亡之流的那边，震惊沉睡的山脉，若火轮飞旋于沙丘之上，太阳向我滚来」，与郭沫若《太阳礼赞》同以太阳为象征写「新生」。差异在姿态与风格：郭沫若写于五四高潮，是「礼赞」——呐喊式的欢呼，太阳「光芒万丈地」将出现，情感喷薄如火山；艾青写于1937年春（抗战前夕），是「召唤」——沉思式的迎接，太阳「向我滚来」带着沉重的历史感，「用太阳的滚烫的宣言，唤醒这沉睡的大地」，情感沉郁而坚定。一为破晓的欢呼，一为黎明前的迎接；郭沫若的太阳是「新生」的神，艾青的太阳是「滚来」的力。二诗相隔十六年，却共享「太阳—新生—觉醒」的象征结构，可见「太阳」意象在中国现代诗中的谱系：从五四的狂飙到抗战的召唤，太阳始终是民族觉醒的图腾。

 太阳的话 The Sun's Words 艾青 · 同为太阳的言说，一为诗人礼赞一为太阳自白 The two ways of writing about the same object: one an ode, one a conversation.

In the later poem the sun speaks and asks to be let in; in the earlier one the poet speaks and worships. The difference in grammatical person is the difference in kind: the ode keeps the reader at a distance and asks him to feel the same elevation, while the dramatic lyric puts the reader inside a room and asks him to open a door. Both are the modern Chinese poem arguing with the classical tradition about what the sun is for.

艾青《太阳的话》以太阳第一人称自白——「打开你们的窗子吧，打开你们的板门吧，让我进去，让我进去，进到你们的小屋里」，太阳主动进入人间、照亮黑暗，是「太阳的自白」；郭沫若《太阳礼赞》则是诗人面向太阳的赞歌——「光芒万丈地，将要出现了哟——新生的太阳」，是「诗人的礼赞」。一为太阳走向人，一为人走向太阳；一写太阳的慷慨（让我进去），一写太阳的辉煌（光芒万丈）；艾青的太阳是亲切的施光者，郭沫若的太阳是崇高的新生者。二诗并读，可见现代诗人对太阳意象的两种开掘：郭沫若赋予太阳以「神」的崇高与革命的激情，艾青赋予太阳以「人」的亲切与日常的温度——同是写光，一为雷霆，一为烛火，恰成对照。

 天上的街市·郭沫若 Towns in the Sky 郭沫若 · 同出郭沫若，浪漫想象的两副面孔 The same poet, the same yearning, and the same collection in its later volume — the same hand writing both a shout and a lullaby.

In the later poem street lamps are compared to stars and the stars to lamps, and the imaginary towns above are described in a whisper. The contrast with the chosen passage is deliberate and frequently commented on: the same poet, in the same decade, produced the loudest and the quietest poems of the period. The pair is the standard evidence that his range was not simply a matter of enthusiasms.

《天上的街市》「远远的街灯明了，好像闪着无数的明星。天上的明星现了，好像点着无数的街灯」，与《太阳礼赞》同是郭沫若的浪漫想象之作，却展现了其诗风的两种基调：《太阳礼赞》是「力」的诗——大海汹涌、光芒万丈，激情如火山喷发，是《女神》狂飙精神的代表；《天上的街市》是「美」的诗——街灯与明星互喻，缥缈空中自有美丽街市，想象如轻纱笼罩，是《星空》时代（1921年后）幽静幻美的代表。前者写于五四高潮，向外的呐喊，太阳是「新生」的宣言；后者写于五四退潮，向内的憧憬，街市是「理想」的寄托。同一诗人之手，一阳刚一阴柔、一激昂一静谧，正见郭沫若诗风的多面性与时代心境的变化——从《女神》的火山到《星空》的月光，中国新诗也在这两极之间完成了最初的探索。