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Guo Moruo (1892~1978), originally named Guo Kaizhen, literary name Shangwu, alias Dingtang, was born in Leshan of Sichuan Province.
郭沫若(1892~1978),原名郭开贞，号尚武，别号鼎堂，四川乐山人。
He was the representative poet and playwright of chronicle play of the great May Fourth period of enlightenment, the prophet-poet of new China.
是现代文学史上足以代表一个时代的诗人与历史剧作家，是鲁迅热切呼唤的摩罗诗人，新中国的预言诗人。
He was the Satanical poet whose appearance was fervently summoned by Lu Xun. His rebellious idiosyncrasy of being unrestricted and capricious, optimistic and progressive contributed to his writing style, which was vigorous and unconventional.
他的自由任性、放荡不羁、乐观向上的叛逆型人格特质，形成了他充满青春活力、敢于标新立异、尽情张扬个性的创作风格。
His first poetry anthology The Goddess gave free rein to the powerful imagination through which he could transform things in the universe into poetic beings that served as animated objects of his emotional response. In expressing the desire to break out of the confines of feudalism, in voicing strong demands for social reform and in emitting boundless enthusiasm for the commendation and pursuit of high ideals. The Goddess distinctly reflected the characteristics of the May Fourth Movement. Indeed, in poetic terms it was the strongest voice of this period. An image was created with the passionate yearning for light and the pursuit of ideals. In the poem the outpourings of the heart and the rapid tempo of poetic melody fully demonstrated the poet's hurricane-like creative power at work. The Goddess was steeped in revolutionary romanticism. The poems, artistically characterized by their strong colors, passionate tone and quick tempo, amply revealed the poet's galloping imagination, boldness of expression and great powers of conception. By freeing himself from the fetters of the old poetry, Guo Moruo created a new world for the post-May Fourth freeverse. Its influence could not be overstated in paving the way for poets of the new poetry. The poetry of Guo Moruo with its overflowing revolutionary romanticism opened a new chapter in the history of modern Chinese poetry.
郭沫若的第一本诗集《女神》，以汪洋恣肆、雄奇瑰丽的想象力，创造了一个热烈地追求精神自由和个性解放的白我抒情的主人公形象;诗化了五四狂飙突进的时代精神，以崭新的内容和形式，开一代诗风，堪称中国现代新诗的奠基之作。
His achievement in the writing of historical plays was outstanding. The representative works included Qu Yuan, Zhuo Wenjun, Wang Zhaojun, The Tiger Tally, The Gall Bladder of the Peacock, The Twin Flowers, etc, in which he "used the past to explain the present".
郭沫若的历史剧创作之早、数量之多、质量之高、影响之大，几乎无人与之匹敌，代表作有《屈原》、《卓文君》、《王昭君》、《虎符》、《孔雀胆》、《棠棣之花》等。
He grasped the essence of history and, in accordance with the laws of art and the development of plot, incorporated his own hopes and ideals in what he wrote. Boldly he experimented, aiming to achieve "resemblance through omission of certain facts".
他创作历史剧的动机是“古为今用”，借古喻今、讽今，本着“失事求似”的原则对历史进行合理的艺术虚构，表现出崇高的悲剧美。
His historical dramas had sublime tragic beauty, incisive historical opinions and passionate personal emotions, which reflected his strong sense of social responsibility and political participation.
他的历史剧含有精辟的史识与强烈的主观抒情色彩，具有明显的指导性和战斗性，体现了作者强烈的社会责任感和政治参与意识。
In addition, Guo Moruo's achievements in the study of history, archaeology and paleography were also most impressive.
另外，郭沫若在历史学、考古学和占文字学方面的研究，也具有当时一流的水平。
