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我为少男少女们歌唱

Singing for the Boys and Girls

何其芳

He Qifang

希望Hope 青春Youth 名篇Famous Modern Poem

我为少男少女们歌唱。
我歌唱早晨，我歌唱希望，我歌唱那些属于未来的事物，我歌唱正在生长的力量。

I sing for the young men and women.
I sing of dawn, I sing of hope, I sing of the things that belong to the future, I sing of the power that is even now growing.
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Meaning

The poem is an offering: a singer steps forward and gives his song to the young, naming four things he sings — morning, hope, the things of the future, and the force that is growing. Each of the four is chosen for what it promises rather than what it is, and together they describe a portrait of youth as a beginning rather than a state. Written in Yan'an in 1941, the poem reads as a public act of faith: the young are not the private wish of the lyric self but the people who will carry the future, and the poet's song is how he honours them.

我放声为少男少女们歌唱。我歌唱早晨，我歌唱希望，我歌唱那些属于未来的事物，我歌唱正在生长的力量。

Appreciation

[Plain Paraphrase] The whole poem is four clauses of the same shape. The speaker says that he sings for young men and women, and then names what it is that he sings: the morning, hope, the things that belong to the future, the power that is growing. Nothing else is said, and nothing is needed.<br>[Structure] The repetition is the structure. 'I sing of' opens each clause, and since the object grows longer each time — two characters, two characters, six, six — the poem widens as it proceeds, like an aria gaining in volume. The refrain 'I sing of' also repeats the verb 'sing', so that the poem about singing is itself a piece of singing.<br>[Imagery] The four objects form a climbing scale from the outside in. The morning is time; hope is the mind; the things of the future are the world; the growing power is life itself. Because they move from the concrete to the abstract, the poem becomes a definition of youth that deepens as it goes, and the last phrase, 'the power that is growing', is the one that names the essence rather than the emblem.

【白话串讲】 何其芳写《我为少男少女们歌唱》：“我歌唱早晨，我歌唱希望，我歌唱那些属于未来的事物，我歌唱正在生长的力量”——“我的歌啊，你飞吧，飞到年轻人的心中去找你停留的地方”——他唱给年轻人。 【意象与手法】 这是何其芳延安时期诗歌明朗风格的典范：以「我歌唱……」的排比句式四次递进，由早晨而希望、由未来事物而生长力量，意象层层深入、感情步步高涨；语言明快如晨光，节奏如歌声般昂扬，一扫其早期诗歌的晦涩与忧郁。 【情感与主旨】 这是对新中国的青年一代的礼赞：诗人把「少男少女」当作早晨、希望与未来的化身来歌唱，表达对青春活力的赞美、对革命事业的信心——个人融入集体，歌声献给明天，是延安文艺「为人民放歌」精神的体现。 【名句点睛】 「我歌唱早晨，我歌唱希望」以复沓的句式唱出全诗的主旋律，明快而昂扬，是延安时期诗歌中最清新的名句。

Background

He Qifang (1912–1977) was born in Wanxian, Sichuan, and came to prominence in the 1930s as one of the 'Three Poets of Hanyuan', writing finely wrought, melancholy verse in the collection 'Divination'. In 1938 he went to Yan'an, taught in the literature department of the Lu Xun Art Academy, and threw in his lot with the revolutionary cause; his manner changed completely, from private elegies to public song. This poem belongs to 1941, when Yan'an was the meeting point of young people from all over China and the war was at a stalemate — the moment when the poet, by his own account, decided to sing rather than to sigh. It appeared in his collection 'Night Song'.

《我为少男少女们歌唱》写于1941年，收入何其芳诗集《夜歌》，是他在延安时期的代表作。何其芳（1912—1977），四川万县人，现代诗人、散文家、文学评论家。他的创作道路以1938年赴延安为界分为两期：前期是「汉园三诗人」之一的唯美派诗人，著有诗集《预言》（1931—1937），诗风精致晦涩、多写青春的忧郁与幻灭，「锦瑟无端五十弦」式的迷惘弥漫其间；1938年他奔赴延安，任鲁迅艺术学院文学系教员，投身革命文艺事业，诗风随之剧变——由个人主义的低吟转向集体主义的歌唱，由晦涩的意象转向明朗的语言，由青春的哀愁转向革命的热忱。此诗正是这一转变的代表：诗人宣称「我为少男少女们歌唱」，把歌声献给青年一代，歌唱早晨、希望、未来与生长——1941年的延安，正值抗战相持阶段，延安是无数热血青年投奔的革命圣地，「少男少女」正是奔赴延安、投身革命的一代青年的象征；何其芳在延安见证了这一代人的朝气，遂以诗为礼。此诗与《生活是多么广阔》（何诗另一名篇）同为其延安时期「明朗风格」的宣言，也记录了一位唯美诗人走向革命、走向大众的精神历程——他自己就曾说过，到延安后他要「歌唱」而不是「叹息」。

Art

The poem is built on anadiplosis, that is, repetition of the opening words. Four clauses beginning 'I sing of' follow one another like four phrases of one melody, and the effect is at once ritual and musical: as in the Book of Songs and in folk song, where whole stanzas repeat with small substitutions, the changeless frame lets the small change register. The clause lengths are graded — two, two, six, six characters — so the line slackens as the sentence lengthens, and the reader hears a voice gathering confidence. There is no imagery of difficulty anywhere: the vocabulary is as plain as dawn itself, and the effect of the poem depends precisely on that refusal of ornament. Underneath, the progression from morning to growing power is an argument, and the art is to have made the argument invisible by folding it inside the acts of a singer.

此诗的艺术特色可括为「复沓造势、意象递进、格调明朗」三端。就「复沓造势」言，全诗以「我歌唱……」的句式四次复沓：我歌唱早晨，我歌唱希望，我歌唱那些属于未来的事物，我歌唱正在生长的力量——同一句式连用四次，如歌声的四个乐句，一唱三叹、层层推进，形成强烈的节奏感与仪式感；复沓是诗歌最古老的修辞（《诗经》重章叠句、民歌的迭句），何其芳以之写「歌唱」，形式与内容完全合一——歌唱者以歌唱的句式唱出歌唱的主题，诗歌本身即是歌声。就「意象递进」言，四个歌唱对象并非并列而是递进：「早晨」是一日之始（时间），「希望」是心中之光（心理），「属于未来的事物」是时代的方向（社会），「正在生长的力量」是生命的活力（本体）——由具体到抽象、由外物到内质、由时间到生命，层层深入，把「少男少女」的内涵逐步展开：他们是早晨、是希望、是未来、是生长的力量，四重意象共同完成对青年的立体礼赞。就「格调明朗」言，全诗语言明净如晨露（早晨、希望、生长），节奏轻快如进行曲（「我歌唱」四字反复领起），情感热烈而不失温厚，一扫何其芳前期诗歌「锦瑟」式的朦胧与哀婉，是延安时期「明朗诗歌」的典范，也标志着诗人完成了从「小我」到「大我」的抒情主体转换。

Allusions

The poem belongs to two long traditions without once citing a source. The first is the singing poem: in China the Book of Songs is sung, the Chu Elegies sing to the gods, and the Western epic opens with a summons to the Muse ('Sing, O Muse'); in Virgil the Aeneid declares that 'I sing of war and of this man'. He Qifang keeps the opening gesture but turns the object of the song from gods, heroes and weapons to the young people of a new age. The second tradition is the symbol of morning: in both Chinese and Western usage, dawn stands for a beginning — the proverb that the day's plan is made at dawn, the/Zhou Yi admonition to be vigilant by day, Shelley's question whether spring can be far behind when winter has come. He's 'singing of the morning' therefore sings of a dawn that is both a person's and an era's. The third, quieter echo is the praise of youth in modern Chinese thought — Liang Qichao's the young strong, the country strong, Li Dazhao's 'Youth China' — of which this short lyric is the wartime version.

此诗的文化意蕴，深植于中外文学「歌唱」与「青春」的传统。其一是「歌唱」的文学传统：中国《诗经》「风」诗皆可歌，《楚辞》「九歌」以歌祭神，乐府民歌「感于哀乐，缘事而发」，诗歌与歌唱自古一体；西方诗歌传统中，「我为……歌唱」更是史诗的固定开篇——荷马史诗「歌唱吧，缪斯女神」、维吉尔《埃涅阿斯纪》「我歌唱战争和这个人」，皆以「歌唱」领起宏大的主题；何其芳「我为少男少女们歌唱」正承此「歌体」传统，把歌唱的对象从神祇、英雄转为新时代的青年，实现了「歌唱」传统的现代转化。其二是「早晨」的象征传统：早晨在东西方文化中皆象征开端与希望——「一日之计在于晨」，《周易》「朝乾夕惕」，雪莱《西风颂》「如果冬天来了，春天还会远吗」，早晨意象凝结着人类对新生的普遍期待；何其芳以「歌唱早晨」开篇，正是以一天的起点写一个时代的起点。其三是「少男少女」的青春礼赞传统：青春是文学永恒的主题，梁启超《少年中国说》「少年强则国强」以少年喻国运，李大钊「青春中华」之论以青春写民族复兴；何其芳在抗战年代歌唱少男少女，正承此「青年即未来」的现代启蒙传统，把个人的青春礼赞融入民族的解放事业——「正在生长的力量」既是青年的生命力，也是新生政权的生命力，是「少年中国」理想在延安时期的诗的回响。

Commentary

The poem is the landmark of He Qifang's second manner and one of the classic songs of youth in modern Chinese poetry. Its importance is threefold. In literary history it fixes the turning point of a career: from the aestheticist elegies of 'Divination' to the bright public voice of 'Night Song', and critics have generally read it as the purest and clearest example of what Yan'an poetry could be. In artistic terms it argues against the prevailing fashion of obscurity: plainness here is not shallowness and singing is not propaganda, for the poem's repetitions and graded clauses are as finely made as anything He Qifang wrote before. In intellectual terms it joins youth to the future, and the two nouns of its last phrase — future, growing power — carry a confidence that sustained a generation through war. Long a fixture in middle-school anthologies, its lines about the morning and about hope remain among the most familiar sounds of modern Chinese youth.

《我为少男少女们歌唱》是何其芳延安时期诗歌的代表作，也是中国现代诗歌中「青春颂歌」的经典，其价值有三重意义。就文学史地位言，此诗标志着何其芳创作道路的根本转变——由《预言》时期的唯美哀婉到《夜歌》时期的明朗昂扬，由抒写个人幻灭到歌唱集体理想；这种转变在五四以来的诗人中具有典型性（闻一多由唯美到爱国、艾青由个人到大我），而何其芳此诗正是这一「转向」最纯粹、最明亮的样本，也是延安文艺「为工农兵服务」方向在诗歌中的成功实践，被评论家视为延安时期诗歌「明朗风格」的标志性文本。就艺术成就言，此诗以复沓句式营造歌唱的节奏，以递进意象展开青春的内涵，语言之明净、节奏之昂扬、情感之真挚，在当时晦涩诗风盛行的背景下别开生面——何其芳以自己的转型证明了：明朗不等于浅薄，歌唱不等于口号，真正的明朗诗歌同样可以是精致的艺术。就思想价值言，此诗把「青年」与「未来」紧密相连，高唱「属于未来的事物」「正在生长的力量」，表达了对新中国的坚定信心与对青年一代的深情礼赞，这种「青春—未来」的信念在抗战年代鼓舞了无数青年投身革命，在今天依然是青春主题诗歌的典范。就影响言，此诗长期入选中学语文教材，其中的「歌唱早晨」「歌唱希望」等句成为几代中国人的青春记忆，其明朗的格调与真挚的情感，至今读来仍如晨光般清新。

Prosody

Form Modern free verse (a lyric in the manner of a song)现代自由诗（抒情诗，歌体诗）
Rhyme There is no rhyme, but the repeated clause 'I sing of' supplies the axis of the rhythm: four clauses share the same opening, the same cadence and a rising line, like four phrases of one melody. The objects also lengthen in turn — two characters, two, six, six — so the verse broadens as it sings.不押韵，而以「我歌唱……」的复沓句式构成节奏主轴：全诗四个「我歌唱」连用，如歌声的四个乐句，同一起点、层层推进，形成强烈的节拍感与咏唱感；「早晨—希望—未来的事物—生长的力量」四个宾语由短而长（二字、二字、六字、六字），句幅渐展，如歌声由清亮而浑厚，情绪由轻快而高昂。
Tone pattern The tone is firm and clear throughout. The opening declaration is a statement, like a proclamation; the short clauses drive forward like hand-clapping; the longer clauses take the song upward. There is not a note of hesitation and not a falling line in the whole poem, which is exactly the voice of singing.句式以「我歌唱……」的排比句为主，语气坚定而明朗：「我为少男少女们歌唱」以陈述句开篇，如宣告；「我歌唱早晨，我歌唱希望」以短促的复沓推进，如击节而歌；「我歌唱那些属于未来的事物，我歌唱正在生长的力量」以加长的排比收束，如歌声推向高潮。全诗无一处犹疑、无一句低沉，语调一路昂扬，正是「歌唱」的声口。
Reading note The sound of this poem lies in its having been written as a song. The opening line stands alone like a singer drawing breath before the first note; then the 'I sing of' clauses come out in succession, the two short ones bright and quick as the first light, the two long ones stretched out like a melody carried away from the horizon. There is no fixed meter and no rhyme, yet a march-like pulse is produced by the anaphora (like a chorus), by the growth of the clauses and by the weight of the words — bright in 'dawn', weighty in 'power'. This is He Qifang's art of making a poem sound the way a song sounds, and it is why the piece has been sung, in one version or another, by generations.此诗的声情之美，在于「把诗歌写成歌声」。全诗以「歌唱」为题、以「我歌唱」为句，形式与内容完全合一——读这首诗，就像听一首歌。开篇「我为少男少女们歌唱」十一字独立成句，如歌手登台、深吸一口气后的第一句开嗓，音节舒展、底气十足，「歌唱」二字落在句末，如音符在高处轻轻一亮。随后四个「我歌唱」如四个乐句鱼贯而出：「我歌唱早晨」六字短促清亮，如晨光乍泄，音调上扬；「我歌唱希望」六字复沓，如第一乐句的回应，音调再扬——两个短句一唱一和，如对歌般轻快。「我歌唱那些属于未来的事物」一句忽然拉长，十二字如长音铺展，把视野推向远方，「未来的事物」五字舒缓而庄重，如眺望地平线；「我歌唱正在生长的力量」同样十二字收束，前六字（我歌唱正在）平实推进，后六字（生长的力量）「生长」二字轻扬、「力量」二字加重，如歌声在最高处有力地落定，全诗在昂扬的尾音中结束。整首诗无韵而自成旋律：靠「我歌唱」的复沓（如副歌）、句式的长短（如乐句的收放）、字音的轻重（「早晨」清亮、「力量」沉稳）营造出进行曲般的节奏，昂扬而不浮夸、明朗而不单调——这正是何其芳「把诗当歌唱」的艺术追求，也是此诗能被几代人传诵的声学奥秘。

Line by line

我为少男少女们歌唱。

I sing for the young men and women.

我放开喉咙，为少男少女们放声歌唱，把歌声献给朝气蓬勃的青年一代。

I sing for the boys and girls.

开篇一句独立成行，是全诗的总纲，也是全诗最有力的宣告。「我」字领起，抒情主体赫然登场——这个「我」不再是以往何其芳诗中那个忧郁自恋的「小我」，而是走向集体、走向大众的「大我」；「为少男少女们」点明歌唱的对象——不是为神祇、不是为英雄、不是为己身的感伤，而是为青年一代放歌，「少男少女」四字带着朝气与亲昵，如长者看着孩子们时的目光；「歌唱」二字是全诗的动词核心，也是全诗的基调——不是低语、不是叹息，而是放声歌唱，这正呼应了何其芳到延安后的自我宣言：他不再「叹息」，而要「歌唱」。此句以最简的句式（我—为—少男少女们—歌唱）完成最郑重的宣告，语气坚定而明朗，如晨钟初鸣，为后文四个「我歌唱……」的排比立定了基音——先宣告「为谁而歌」，再展开「歌些什么」，起承之间，全诗的结构已然展开。

The singing. I sing for the boys and girls. The i-sing-for-the-boys-and-girls declaration is the opening. To have sung for them would be a singing; the i-sing-for-the-boys-and-girls is the singing.

我歌唱早晨，我歌唱希望，

I sing of dawn, I sing of hope,

我歌唱清晨的早晨，我歌唱心中的希望，歌唱一切开始的美好与光明。

I sing the morning, I sing hope,

此两句是歌唱主题的第一层展开，以两个「我歌唱」的复沓开启全诗的主旋律，意象由具体而抽象。「我歌唱早晨」先唱时间之始：早晨是一天的起点，万物苏醒、晨光熹微，象征着开端与新生——歌唱早晨，就是歌唱一切开始的美好，也是以一天之晨写一个时代之晨（新中国的黎明）；「早晨」意象具体而明亮，如一幅晨光图展开在读者眼前。「我歌唱希望」再唱心中之光：希望是支撑人前行的内在力量，比早晨更抽象、更内在——由歌唱早晨（外在的起点）到歌唱希望（内在的动力），意象由物入心、由表入里，递进之迹分明。两个「我歌唱」句式复沓，如歌声的两个乐句一唱再唱，音节明快、节奏昂扬；「早晨」与「希望」一实一虚，恰好概括了「少男少女」所代表的全部美好——他们是时代的早晨，也是人间的希望。两句以最朴素的语言唱出最普世的情感，是延安诗歌「明朗而不浅薄」的注脚。

The morning. I sing the morning, I sing hope. The morning sung and hope sung are the first strophes. To have sung the morning would be a singing; the i-sing-the-morning-i-sing-hope is the singing.

我歌唱那些属于未来的事物，我歌唱正在生长的力量。

I sing of the things that belong to the future, I sing of the power that is even now growing.

我歌唱那些属于未来的事物，我歌唱正在生长的力量。

I sing the things that belong to the future, I sing the force that is growing.

此两句是歌唱主题的升华，也是全诗的高潮，由「早晨」「希望」进到「未来」与「生长」，意象由日常而宏阔。「我歌唱那些属于未来的事物」唱时代的方向：所谓「属于未来的事物」，在1941年的延安，即是革命的事业、新中国的蓝图——诗人歌唱的不是已成的现实，而是将成的未来，这种「面向未来」的歌喉，正是一个投身革命者的胸襟；「那些」二字带着指向的朦胧与信心的坚定，仿佛诗人望向远方、目光炯炯。「我歌唱正在生长的力量」唱生命的本体：「生长」是最富生命力的动词，写新生事物不可阻挡的势头；「正在生长的力量」既是少男少女的青春活力，也是新生政权与革命事业的蓬勃生机——诗人歌唱的不是静止的存在，而是运动的成长，一个「正在」，把时代的脉搏写进了诗句。两句排比而递进：由「事物」（外物）到「力量」（本体），由「未来」（时间）到「生长」（运动），层层上升，把对青年的礼赞升华为对时代新生的礼赞；句式的复沓与情感的攀升同步，全诗在最高处收束，歌声余音不绝。

The future. I sing the things that belong to the future, I sing the force that is growing. The future things and the growing force are the climax. To have sung the growing force would be a singing; the i-sing-the-things-that-belong-to-the-future-i-sing-the-force-that-is-growing is the singing.

Study

Word focus

歌唱 Gechang, 'to sing', is the key verb of the poem and of its title, and it is chosen against He Qifang's earlier manner. Where his earlier poems murmured and sighed, this one sings; the single verb marks a man who has moved from individualism to collectivism, from low whisper to public voice — as he himself put it, from that time on he wanted to sing rather than to sigh. It also restores poetry to its origin in song, which is why the repeated clause can carry the whole poem. 「我为少男少女们歌唱」之「歌唱」，是全诗的核心动词，也是全诗的灵魂。「歌唱」不同于「吟诵」「低语」「诉说」——它是放声的、喜悦的、面向大众的，带着仪式感与感染力。其妙有三：其一，以「歌唱」写抒情方式——何其芳此前的诗是「吟」是「叹」（《预言》中的低语），此诗是「歌唱」，一词之别，正是他由个人主义走向集体主义、由忧郁走向明朗的精神转变的标记——他在延安对自己说：「我要歌唱，不再叹息。」其二，以「歌唱」合「歌体」传统——中外诗歌皆源于歌（《诗经》可歌、荷马史诗「歌唱吧」），「歌唱」一词把诗歌还原为歌声，为全诗的复沓节奏（我歌唱……我歌唱……）提供了内在依据：既然是歌唱，自然一唱三叹、反复咏唱；其三，以「歌唱」写时代精神——抗战年代的延安，歌声是革命生活的日常（《黄河大合唱》等），「歌唱」一词带着那个时代的体温，诗人以歌唱献礼青年、献礼未来，正是延安文艺「为人民放歌」的体现。一个动词，写尽一种人生姿态与一个时代的声音。
早晨 Zaochen, 'morning', is the first and brightest of the four objects. It is the simplest word in the poem and the one that fixes its tone: morning is the start of every day, when air is clearest and hope is cheapest, so it stands for both the youth of a person and the dawn of an age. He Qifang takes an ordinary time-word and makes it the emblem of the whole poem without adding a single adjective. 「我歌唱早晨」之「早晨」，是四个歌唱对象中的第一个，也是全诗意象的起点。「早晨」是每一天的开始，晨光、朝露、鸟鸣，皆是一日中最清新的时刻，象征开端、新生与希望。其妙有三：其一，以「早晨」写青春——少男少女正如人生的早晨，朝气蓬勃、前程无量，诗人歌唱早晨，即是歌唱青年生命的起点，意象与主题天然契合；其二，以「早晨」写时代——此诗写于1941年的延安，抗战相持、黎明在即，「早晨」既是一天的起点，也是一个新时代的隐喻（新中国的黎明），歌唱早晨即是歌唱即将到来的胜利与新生，个人的青春与民族的黎明在「早晨」一词中合而为一；其三，以「早晨」定基调——全诗意象由「早晨」起始，依次展开「希望」「未来的事物」「生长的力量」，早晨是最具体、最明亮的一个，它定下了全诗明朗清新的基调，如晨光洒满诗行。一个最日常的时间词，被诗人赋予了青春、时代与希望的三重象征，正是「以俗为雅、即物见义」的诗歌笔法。
正在生长的力量 The growing power — zhengzai shengzhang de liliang — is the heaviest and most philosophical phrase of the poem. 'Growing' means still in motion, not yet formed: the poem does not describe what the young are but what they are becoming. 'Power' is the end of the scale, reached after time, mind and world, and the present tense of 'is growing' gives the line an unstoppable forward drive. Five characters, and the summarised thought of the whole poem. 「我歌唱正在生长的力量」之「正在生长的力量」，是全诗分量最重、也最富哲理的一组词。「生长」写生命的动态——不是已成的存在，而是运动中的成长，如春苗破土、如江河奔涌；「正在」二字更把这种生长放在「当下进行时」中，仿佛能看见力量一寸寸壮大；「力量」则是全诗意象的终点——从早晨（时间）到希望（心理）到未来的事物（外物）再到力量（本体），四个歌唱对象层层内化，最终落在「力量」上，这正是少男少女（青年）最本质的属性：他们是正在生长的力量。其妙有三：其一，以「生长」写青年——青年最大的特征不是「已是什么」而是「将成什么」，诗人不写少男少女的现状而写其生长，正抓住青春的本质；其二，以「生长」写革命——1941年的延安与抗战事业，同样是「正在生长的力量」，诗人把个人的青春与民族的解放统一于「生长」一词，青年之生长即国家之生长；其三，以「正在」写信念——「正在生长」意味着不可阻挡、必将壮大，一个进行时态，写尽诗人对新生的坚定信念，如种子既已破土，参天可期。五个字，是全诗思想的结晶。

Related Reading

预言 Divination 何其芳 · 同出何其芳之手，一为前期唯美低吟一为后期明朗高歌 By the same hand, an early lyric of aesthetic reverie and a later lyric of public song — the two poles of one poet's road

'Divination', with its line 'when the beating of my heart at last grew near', belongs to 1931 and is the representative poem of He Qifang's first period: the coming and going of a 'young god' is used to write the bafflement of youth, with images as finished as 'sighs of the night' and 'ripples of a dream', and the whole tone is one of aesthetic sadness. 'Singing for the Boys and Girls' (1941) sings instead of morning, hope and the future, with a language that is clear and a tone that is lifted — a collective rather than a private song. One turns inward, to the faint stirrings of one heart; the other turns outward, to the vigour of a generation. Read together they trace one complete road, from sighing to singing, and each remains a masterpiece of its own stage — two equally sincere voices of the same man.

《预言》「这一个心跳的日子终于来临」写于1931年，是何其芳前期诗歌的代表作，与《我为少男少女们歌唱》（1941年）恰好构成其创作道路的两极：预言写「期待与幻灭」——以「年轻的神」的来去写青春的怅惘，意象精美（「夜的叹息」「梦的轻波」）、情调忧郁，是唯美主义的低吟；我为少男少女们歌唱写「歌唱与希望」——以早晨、希望、未来的事物入歌，语言明净、情调昂扬，是集体主义的放歌。一者向内（个人心灵的微澜），一者向外（时代青年的朝气）；一者「预言」而不至，一者「歌唱」而必达。两诗对读，正可见一位诗人由「汉园」到「延安」的完整心路——从叹息到歌唱，从忧郁到明朗，何其芳的转变是五四以来中国知识分子走向革命的缩影，而两首诗各自都是其阶段的杰作，见证着同一位诗人两种同样真诚的声音。

 太阳的话 The Sun Speaks 艾青 · 同为延安时期的明朗诗歌，同以光明与希望为歌唱主题 Both are lyrics of the Yan'an years in the bright manner, both sung to light and hope, but one is sung by the sun and one by the poet

Ai Qing's 'The Sun Speaks' addresses the reader in the sun's own voice — open your windows, open your doors — and scatters flowers, fragrance, light, warm and dew across the inner space of hearts; it is a poem of address, with grand images, while He Qifang's poem addresses no one in particular and only sings — 'I sing of' — with images that stay fresh and small: dawn, hope, growth. The one makes light itself speak, the other sings on behalf of the young. The common ground is a determination to write clearly about new life in a time of national peril; the difference is that Ai Qing's lyric is broader and He Qifang's is brighter. Both obey the same direction of the age, that poetry should go to the people, and both are among the clearest poems of the war years.

艾青《太阳的话》「打开你们的窗子吧，打开你们的门吧」以太阳的口吻呼唤人们迎接光明，与《我为少男少女们歌唱》同属抗战时期（延安及大后方）的明朗诗歌，同以光明、希望、新生为歌唱主题。差异在抒情方式：艾青以「太阳」拟人立言——让太阳自己开口邀请（「让我把花束，把香气，把亮光，温暖和露水撒满你们心的空间」），是「代言体」的呼唤，意象宏大（太阳、花束、香气）；何其芳以「我」直抒胸臆——以「我歌唱」的复沓直接抒情，是「直陈体」的咏唱，意象清新（早晨、希望、生长）。一者让光明说话，一者替青年歌唱；一者雄浑、一者明朗。共性在于：二诗皆以鲜明的意象与昂扬的格调唱出新生的信念，皆实践了「诗歌走向大众」的方向，同为抗战诗歌中最明亮的篇章。合观二诗，可见艾青与何其芳两位大诗人在民族危亡年代共同的精神取向——把歌声献给光明与未来。

 光的赞歌·节选 Hymn to Light (extract) 艾青 · 同为「歌」体赞歌，同以光明希望为母题，一短章一长诗 Both are hymns in the manner of song, both on the maternal theme of light and hope, one a long poem and one a short one

Ai Qing's 'Hymn to Light', written in 1978, praises light at length: without light the world would be without eyes, and the poem runs through the whole history of humanity's search for illumination, argumentative and vast, a summing-up of a long life's thought. He Qifang's short lyric, written in 1941, holds to dawn, hope and growth with a spareness that makes its four clauses seem inevitable. The one is a philosophy of light, the other an ode to youth; the one asks what light means for us forever, the other what the present means for us now. Read together they show the two paradigms that the hymn form takes in modern Chinese poetry — the long speculative hymn and the short lyric hymn — and how one maternal theme of light and hope runs right through the whole of modern Chinese verse.

艾青《光的赞歌》写于1978年，以宏大的篇幅礼赞光明，与《我为少男少女们歌唱》同属中国新诗中的「赞歌」体，同以光明、希望、未来为母题，而体制与格调迥异：光的赞歌是长诗——以「光」为核心意象，铺陈人类追求光明的历史（「世界要是没有光，等于人没有眼睛」），思辨深邃、气象磅礴，是艾青晚年思想的总结；我为少男少女们歌唱是短章——以早晨、希望、生长为核心意象，咏唱青年的朝气与新生的信念，简洁明快、情韵清朗，是何其芳中年转变的宣言。一者是「光的哲学」，一者是「青春的颂歌」；一者写光明之于人类的永恒意义，一者写青春之于时代的当下价值。合观二诗，可见「赞歌」一体在中国新诗中的两种范式——长篇的思辨赞歌与短章的抒情赞歌，也可见「光明—希望」这一母题如何贯穿现代中国诗歌的始终。