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The millet is far away, and the ears of the millet are wandering and wandering. Those who know me say that I am worried, but those who don’t know me say that I am in the sky.
The millet is far away, and the ground is full of energy. Those who know me say that I am worried, but those who don’t know me say that I am in the sky. Who is this? ”
This is "Millet Li" from "The Book of Songs·Wang Feng", a nostalgic poem that laments the overthrow of the Zhou Dynasty and expresses concern for the country. "Mu Li" is the first chapter of "Wang Feng", and its importance is self-evident. "Poetry Preface" says: ""Millet" is written by Min Zongzhou. The Zhou Dynasty officials went to Zongzhou for military service. They passed the old ancestral temple and palaces, and they were all filled with grains and millet. The Minzhou family was overthrown, and they couldn't bear to leave, so they wrote this poem." From a poetic point of view, his statement is believable. In China, grains are always a changing concept. About two thousand years ago, the order of grains was rice, millet, millet, wheat, and beetroot. The Yellow River Basin is a dryland agriculture based on millet and broomcorn millet. The author of the poem "Millet Li" went to the ruins of Haojing, the capital of the Western Zhou Dynasty, the so-called Zongzhou. Everywhere he looked, there were no longer the former city gates and palaces, nor the prosperity of the city. There was only a lush millet seedling growing to its heart's content. , and perhaps occasionally one or two wails of wild pheasants were heard. This situation made the poet unable to help but feel sad, and his clothes were filled with tears. The seedlings of millet and millet have no meaning in nature, but in the eyes of the poet, they are an inducement to endless melancholy. He walked slowly on the desolate path, his heart was shaking, he was drunk, choked, and full of regret. The sadness that is bearable but unbearable is that this kind of worry cannot be understood and cannot be expressed to the fullest. This kind of great sorrow can only be attributed to the sky: "Who is here in the long sky?" Although there are many other opinions about this poem, the sorrow caused by the changes of the times contained in the poem is It is indisputable that the sense of vicissitudes shown in it deeply shocks the reader's soul.
Since the "Book of Songs", the bleak livelihood of the people and the lamentation of the family and the country have always been an indispensable part of the mainstream literature. The image of confusion and worry shown in "Mi Li" focused the tragic consciousness of personification on knowledge in the early days of Chinese literature and art: "Those who know me say that I am worried, and those who don't know me say what do I want." in the context of molecular thinking. From "Li Sao" to "Historical Records", from "Ode to Nagato" to "Sorrow for Jiangnan", the national elites who have struggled to survive in the turbulent flow of history have never given up the heavy moral and spiritual responsibility of "compassion for heaven and humanity". The deep sorrow of "Mu Li" has pervaded thousands of years, and has traveled all the way to modern and contemporary literature. I remember the first chapter of Mr. Jin Yong's "The Legend of the Condor Heroes", "Snowstorm", is about a storyteller telling stories in Niujia Village. There is a poem at the beginning:
"The little peach blossoms without a owner. , the tobacco smoke is covered with late crows.
Several ruins surround the old well, and they have always been people’s homes. ”
The author of this poem is the Southern Song Dynasty poet Dai Fushi, a storyteller. It serves as the "setting poem" that opens the story. The poem describes the dilapidated scene of the Jianghuai generation after the invasion by the Jin soldiers. The ruined scene in front of us reminds people that this was originally a peaceful place to live and work in peace and contentment. During the Southern Song Dynasty, the Huaihe River Basin was the front line of the war between the Song and Jin Dynasties. The villages and fields were devastated. The once prosperous cities and wealthy villages were now depressed and desolate. Low walls were destroyed and collapsed everywhere, and abandoned wells were surrounded. Coupled with the crows circling in the dusk, it is like telling people that there is no human habitation here. This is clearly a poem that expresses the "sorrow of separation". This melancholy poem sets the tone of "The Condor"'s thought of family, country and world as the foundation at the beginning, leaving readers with a melancholy sense of rise and fall. Haunted by it, I shed tears of sadness, and my soul was bound by it.
From the "sadness of millet separation" in "The Book of Songs", the "old Wang Xie" in Tang poetry, the "abandoned pond and trees" in Song poetry, to the "abandoned garden" with fallen leaves in the autumn wind in "A Dream of Red Mansions", we The nation actually does not reject tragedy. In China, the title of Poet Saint was given to Du Fu, with his words of sorrow and blood and tears such as "the country is broken, the mountains and rivers are still there, the city is springy and the vegetation is deep". What Du Fu's deep and vast soul inherits and expresses is the "suffering of civilization" that history cannot exhaust and time cannot dilute. History is surprisingly similar and repeated. King You fell in love with Baosi and became the last ruler of the country. Xuanzong fell in love with Yang Yuhuan and became the quasi-last ruler who abandoned the capital and ruined the country. The imperial palace, palace and temple in Haojing, the capital of Zhou Dynasty, were destroyed and became Maojilili. , Chang'an, the capital of Li Tang, was trampled by barbarians, and the Imperial Ancestral Temple was burned by bandits. Doctor Zhou wrote the sentimental poem "Mao Li" to describe the fall of the Western Zhou Dynasty. More than a thousand years later, Du Fu wrote "Three Officials and Three Farewells" during the war, describing the depression and ruin of Chang'an after the Anshi Rebellion. The same beauty hurts Min, words of sorrow, and sounds of troubled times. Du Fu's poems are the same as "The Book of Songs: Shuili". Intellectuals with moral ambitions are unable to relieve their worries and depression. Its beauty does not come from the diction, but from the restraint and forbearance after the "deeply painful drama". This is also the core difference between the concept of Chinese tragedy and Western tragedy.
Why should we exercise restraint and forbearance? Because, it is a kind of emotion that has all kinds of sweet, sour, bitter, and spicy emotions in my heart that cannot be written out. I want to talk about it, but I still want to say it. In the end, I have no choice but to stop writing. I just bite my gums and chant, and I am deeply in love, every word. Cry.
Man is first of all a social being, and the tragedy of "man" is the tragedy of society in the first place. When mountains and rivers travel, and the country is broken, what can a small individual do in the turmoil of the great era? "I" feel sad because I complain about the injustice that fate has inflicted on "me". What's more, I have to lament the struggle of the people of Li, which affects me and others. This strong sense of loss and inadequacy in the face of changes in things and people, the ups and downs of things, this pain of care and compassion arising from overlooking the common people, is so deep and wide that it is difficult to describe.
Originally, the greater the pain, the more tears were shed and the louder the mourning was. However, the "Sorrow of Shuili" did the opposite. The more painful it was, the more tears it shed. The more restrained you are, the less willing you are to fall into complaining, because how can this long-lasting hatred be carried by simple complaints? The deep sorrow of "Muli" has pervaded for thousands of years, and its rich cultural connotation is far beyond what can be summarized in one word. Since the "Book of Songs", a group of images including abandoned gardens, fallen flowers, decaying grass, and decaying walls under the lingering light of the west wind has emerged in Chinese literature. In the hands of Yu Xin, Du Fu, Li Yu, Su Shi, Jiang Kui, Lu You, etc., " "The Sorrow of Shuli" has been passed down for thousands of years. This kind of sadness is rooted in the heart of the nation and is hidden deep in the mind of every person with lofty ideals. It is often inspired when the country is in ruins and the nation rises and falls, and has become one of the themes repeatedly chanted by literati.
There are thousands of official tombs near and far in Catalpa, and there are palaces of six generations of grass and millet.
Faced with the ruins of the hometown and the missing beams, to whom do we send our wanderings, intermittent whines, and empty and melancholy hesitations? The so-called Chineseness comes from the cultural landscape. Without the sadness of millet separation, the sense of rise and fall, the sad autumn mood of "the sky is green, the white dew turns to frost", and the ability to rise up when seeing things and express our aspirations based on things, we would still be What right do you have to say you are Chinese? How do we gain identity?