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''Before everything, this article of Guo Moruo has many grammar, punctuation, and layout errors and mistakes, and some sections are almost unreadable. The general organization of the whole article makes it very difficult to read and find useful information within. The main focus of improving this article would be to reorganize the article, fix the casual errors. I will make a new template for the whole article in my sandbox here. Most part of the text are copied from the original Guo Moruo article while the bold text are added by me. So far, the added paragraphs are mostly about Guo's two most well-known pieces of works, one of which is an anthology of poem The Goddess and the other one is the opera Qu Yuan and the biography has been reorganized into a new headings Life which some contents were added through bold text.''

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= Guo Moruo = Guo Moruo (Chinese: 郭沫若; November 16, 1892 – June 12, 1978), courtesy name Dingtang (鼎堂), was a Chinese archaeologist, historian, poet, politician, and writer.

Life
1892.11.16 Guo, originally named Guo Kaizhen, was born on November 10 or 16, in the small town of Shawan. Shawan is located on the Dadu River some 40 km (25 mi)southwest from what was then called the city of Jiading (Lu) (Chia-ting (Lu), 嘉定(路)), and now is the central urban area of the prefecture level city of Leshan in Sichuan Province.

1906-1909 After passing competitive examinations, in early 1906 Guo Moruo started attending the new upper-level primary school (高等小學; gāoděng xiǎoxué) in Jiading. It was a boarding school located in a former Buddhist temple and the boy lived on premises. He went on to a middle school in 1907, acquiring by this time the reputation of an academically gifted student but a troublemaker. His peers respected him and often elected him a delegate to represent their interests in front of the school administration. Often spearheading student-faculty conflicts, he was expelled and reinstated a few times, and finally expelled permanently in October 1909.

1913-1914 Following his elder brothers, Guo left China in December 1913, reaching Japan in early January 1914. After a year of preparatory study in Tokyo, he entered Sixth Higher School in Okayama. When visiting a friend of his hospitalized in Saint Luke's Hospital in Tokyo, in the summer of 1916, Guo fell in love with Sato Tomiko, a Japanese woman from a Christian family, who worked at the hospital as a student nurse. Sato would become his common-law wife. They were to stay together for 20 years, until the outbreak of the war, and to have five children together. He started to study from foreign literature masters like Rabindranath Tagore, Johann Wolfgang von Goethe and William Shakespeare.

1918 After graduation from the Okayama school, Guo entered in 1918 the Medical School of Kyushu Imperial University in Fukuoka. He was more interested in literature than medicine, however. His studies at this time focused on foreign language and literature, namely the works of: Spinoza, Goethe, Walt Whitman, and the Bengali poet Tagore.

1919 May Fourth Movement started and Guo devoted himself into the New Culture Movement and published multiple new works such as "O, Earch, My mother" and "Nirvana of the Phoenix".

1921 Along with numerous translations, he published his first anthology of poems, entitled The Goddesses (女神; nǚshén) (1921). He co-founded the Ch'uang-tsao she ("Creation Society") in Shanghai, which promoted modern and vernacular literature.

1927-1937 Guo joined the Communist Party of China in 1927. He was involved in the Communist Nanchang Uprising and fled to Japan after its failure. He stayed there for 10 years studying Chinese ancient history. During that time he published his work on inscriptions on oracle bones and bronze vessels, Corpus of Inscriptions on Bronzes from the Two Zhou Dynasties (两周金文辭大系考釋). In this work, he attempted to demonstrate, according to the Communist doctrine, the "slave society" nature of ancient China. His theory on the "slave society of China" remains highly controversial, although it was praised by Mao Zedong and the party.

1937 In the summer of 1937, shortly after the Marco Polo Bridge incident, Guo returned to China to join the anti-Japanese resistance. His attempt to arrange for Sato Tomiko and their children to join him in China were frustrated by the Japanese authorities. He organized a propaganda troop for the Frontline. Reported directly to Chou En-lai for wartime literature work as a "non-party" person. After Shanghai was lost in battle, Guo left Shanghai to Hongkong and Guangzhou to continue his study and movements.

1942 Guo Moruo wrote historical dramas "Qu Yuan"《屈原》、"Hu Fu"《虎符》, "Gao Jian Li"《高渐离》, "Peacock Courage"《孔雀胆》. Translated Goethe  "Hermann unt Dorothea"《赫曼与窦绿苔》. Established  the publisher 群益出版社 and edited "Chong Yuan" (Central China) 《中原》.

1943 Guo wrote a historical drama "Nan Guan Cao" 《南冠草》. Not only do the operas reflect the views discussed above. Even the archeological calligraphy study and the Goethe translation adhere to them. Despite the propaganda there is exceptional literary value accorded by the Chinese literary circles.

1948 Guo wrote "War Memoirs" which he renamed "Hong Bo Qu" (for the song)《洪波曲》. Then went to the red army liberated. areas in the Northeast (Civil war). Even though he was not a military man, he liked to be near the action. He was pointed to be the academician of the Academia Sinica in Nanjing for his accomplishments in the area of study in Archaeology.

1949 He was pointed to be the headmaster of the Chinese Academy of Sciences.

1958 Guo wrote the historical play 《蔡文姬》

1978.6.12 Guo Moruo died in Bejing, age 86.

The Goddess
'During the time period where Guo finished the anthology of peom, The Goddess'', (Nüshen女神) in 1921. Most of the poems are written while Guo was studying abroad in Japan. The most representative poems in the anthology are "Nirvana of the Phoenix" and "O, Earch, My mother". It was right after the May Fourth Movement in China.(1919) This particular piece of work shows a sense of Guo's attitudes towards the society conflicts at that time, and how the movement has deeply and strongly affected Chinese artistic style in the 1920s and the 1930s. As for the poetry expression, the anthology jumped out of the old Chinese poetry frameworks and became a new style which represents freedom and new ideas just like the transition of China from tradition to modernity. The creation of the anthology marks the beginning of a new era in the modern Chinese literature works.  The style and expression type of The Goddess has become the foundation of the modern Chinese poetry and has started a so called "Poetry Revolution" in China. Some of the ideas in this poetry anthology are from Guo Moruo's experience from his participation in the New Culture Movement and most are from the May Fourth Movement. The new ideas are first the desire of freedom, where people focus on self-expressing and showing the true inside of one's nature, to find out and confirm one's value and seek self-exploration. What's more, nationalism is another focus in the new ideas where people shoud unite and love their countries. Last but not least, the idea of fighting and rebelling is another theme in the anthology.'''

Qu Yuan
'''In 1942 Guo Moruo wrote historical dramas "Qu Yuan"《屈原》. Different from the poetry anthologyThe Goddess, Qu Yuan was completed by Guo Moruo twenty years later where his literary skills have been more mature and enriched. Also, Guo's focus has shaped greatly towards the idea of patriotism since the nationalistic modern afterlife of Qu Yuan has always been deeply remembered by Chinese people and such character could motivate Chinese to fight against the invaders and protect the country. Qu Yuan is considered to be the most influencial and well-known piece of literature work of Guo Moruo. The five-scene drama was completed by Guo within ten days and was first played in Chongqin. Later the drama was played in many countries abroad such as Russia and Japan. The sublimity in this particular drama covered its flaws and drawbacks and shows a strong sense of the theme of patriotism and rebellion against the invaders.  This drama has been greatly influenced by the political views at that time, therefore, the criticisms or praises are mostly coming from the aspect of political views but not from the perspective of a literature. People criticises the play for it being too "simple" and "casual", however, this could not deny the fact that it greatly brought up the attention of nationalism and patriotism of Chinese people during that time.'''