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李瑛，男，1926年12月生于遼寧省錦州市，祖籍河北省豐潤縣。曾任解放軍總政文化部部長、中國作家協(xié)會主席團委員。1949年從北京大學中文系畢業(yè)，參加了中國人民解放軍。曾任新華通訊社第四野戰(zhàn)軍總社記者。1942年開始發(fā)表作品，1944年與同學合出詩集《石城底青苗》，1948年出版第一本詩集《槍》。詩集《生命是一片葉子》獲首屆魯迅文學獎詩歌獎。

李瑛有“軍旅詩人”之稱，擅長通過描寫士兵的日常生活場景來歌頌士兵的勇敢和忠誠。李瑛還寫有許多國際題材的詩歌，以世界各國人民爭取民族獨立和民族解放的斗爭為背景，情感強烈。李瑛善于以小見大，細小具體的生活局部反映了時代的特點；他還善于抓住自然景色的特點，描繪遼闊壯美的自然景色，意象鮮艷明麗。

《我驕傲，我是一棵樹》以一棵樹的口吻，激情洋溢地表現(xiàn)了這棵樹堅韌不拔、熱愛生活的品質和無私奉獻的精神。這棵樹生長在作為中華文化發(fā)源地的黃河邊上，他既有阻擋風沙雨雪的本領，又有關愛弱者、關心社會、奉獻自己的美好品質。他即使失去“生命”，也要變?yōu)槊禾?，向社會奉獻最后的光和熱。其實樹的情感就是詩人的情感。《我的中國》是一首抒情長詩，共3600余行。詩人以自己的成長經歷為經，以紛繁的時代生活為緯，以飽滿的熱情、如實的筆觸記錄了時代的發(fā)展，以廣闊的視野、深刻的探討鋪開了文化發(fā)展的歷史巨幅。面對未來，詩人呼喚道：“現(xiàn)在，在陽光下，讓我們一起/從五十個十月用二十世紀末的窗口/眺望未來?！?strong>《一月的哀思》書寫了周恩來總理逝世后，全國的悲痛氣氛和人們對總理的沉痛懷念。詩人描寫了北京十里長街的百萬群眾送別總理靈車的畫面，穿插回憶了總理的感人事跡，生動地刻畫出了總理的光輝形象。詩人運用了中國傳統(tǒng)詩歌反復詠唱、回環(huán)往復的寫法，并且結合了電影中蒙太奇的手法，總體呈現(xiàn)出了剛柔相濟的風格。

李瑛晚年詩歌，技巧自然，不著痕跡。詩人將情感融于詩歌的意境，幽遠深邃，感情隱忍，令人心痛。他以“靈魂是一只鳥”作為五首新詩《在墓園》《親人離去之后》《靈魂是一只鳥》《尋找》《什么是孤獨》的總題，表達了他對去世親人的沉痛思念。

Li Ying, male. Born in December 1926, in Jinzhou, Liaoning province. His family is originally from Fengrun, Hebei province. Former head of the cultural division of the People’s Liberation Army and presidium member of the Chinese Writers Association. In 1949 he graduated from Peking University with a degree in Chinese and subsequently entered the People’s Liberation Army. Former reporter with the Fourth Field Army Cooperative for Xinhua News. His writing was first published in 1942. Together with a classmate, he released the poetry collection Green Sprouts Below the Stone City in 1944, and in 1948 his first poetry collection, Gun , was published. His poetry collection Life Is a Leaf won the first Lu Xun Literary Prize for Poetry.

Sometimes known as the “Army Poet,” Li Ying is skilled at portraying scenes from the everyday life of a soldier, and at using these scenes to praise the courage and devotion of these soldiers. Li Ying has also written many poems with international themes. These poems are set against a common background—people fighting for the their independence and liberty—and are filled with strong emotion. Li Ying has a knack for conveying grand ideas and themes with smaller examples, such as using small, specific parts of life reflect the characteristics of certain eras. He is also skilled at grasping the features of natural landscapes. The natural landscapes he depicts are vast and magnificent, and filled with bright, gorgeous imagery.

I Am Proud, I Am a Tree  is written from the perspective of a tree, using this voice to passionately display its unyieldingness and love of life, as well as its spirit of selfless devotion. This tree grows besides the Yellow River, the cradle of Chinese civilization. In addition to his instincts for blocking wind, sand, rain, and snow, he also watches over the weak, cares for society, and dedicates his own good qualities to the people’s wellbeing. Even if he loses his “l(fā)ife,” he will still be turned into coal, devoting the last of his warmth and brightness to society. In fact, the tree’s emotions are a perfect reflection of the author’s own.

My China is a long lyrical poem with over 3,600 lines. Using his own experiences growing up as well as numerous lives and eras as threads, the poet records the  country’s development through the years with passionate and truthful language; using a wide breadth of perspectives, he explores the history of China’s development, laying out a massive canvas as he does so. As he confronts the future, the poet calls out, “Now, under this sunlight, let us/after experiencing these fifty Octobers, look through the window of the end of this century/and gaze upon the future.” 

January Sorrow and Grief depicts the entire country’s grief after the death of former Chinese premiere Zhou Enlai, as well as the people’s sorrowful but cherished memories of the man. The poet describes the mighty crowds of people who lined the streets of Beijing to bid a final farewell to the former premiere’s hearse. Interspersed with memories of Zhou Enlai’s moving deeds, the poem paints a vivid and lofty image of him. The poet combines   techniques of repetition and symmetry found in traditional Chinese poetry with a cinematic montage technique to present a style that is simultaneously firm and supple.

Li Ying’s later poems are seamlessly written and marked by the natural use of technique. The poet melds his emotions with the imagery of his poems—deep, abstruse, patient, and heartrending. With a single phrase as a theme—“the soul is a bird”—he penned five new poems: In the Graveyard , After the Passing of a Family Member, The Soul Is a Bird, Searching, and What Is Loneliness. These poems express his deep pain and thoughts on his departed family members and relatives.