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Poetry of Mao Zedong

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Through China

Overview

Mao's poems are in the classical Chinese verse styles, most commonly Ci and Lü, rather than newer Modern Chinese poetry styles. Like most Chinese intellectuals of his generation, Mao immersed himself in Chinese classical literature. His style was deeply influenced by the "Three Lis" of the Tang dynasty: poets Li Bai, Li Shangyin, and Li He. He is considered to be a romantic poet, in contrast to the realist poets represented by Du Fu.

Mao's poems are frequently quoted in popular culture, literature and daily conversations. Some of his most well-known poems are "Snow" (1936.02), "Changsha" (1925), "The Double Ninth" (1929.10), "Loushan Pass" (1935), "The Long March" (1935), "The PLA Captures Nanjing" (1949.04), "Reply to Li Shuyi" (1957.05.11), and "Ode to the Plum Blossom" (1961.12).

Themes in Mao's poetry include frequent use of the character 万 (wan), meaning 10,000 (and in the Chinese literary tradition, not necessarily the specific number but standing for something huge and plentiful). The character appears in various lines in his romantic revolutionary poetry such as "I see ten thousand crimsoned hills", "Ten thousand miles of whirling snow", an "Under the freezing sky ten thousand creatures contend in freedom".

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