In Chinese's heart, from ancient times to the present, there are always some haunting complexes. Among them, the most difficult to give up, one is a chivalrous guest, and the other is a reclusive.
Some time ago, the popular "Loading Stage" told the story of Uncle Scar's return to the south, and some viewers who did not know it might mistakenly recognize it as a modern interpretation of some ancient elements, but it is not.
Today, there are really all kinds of people, carrying their bags and returning to the south.
I first learned about this incident a few years ago, from the public account written by an author with the pen name "Erdong" - he is a contemporary painter who lives in seclusion on Zhongnan Mountain.
Chinese hermit complex is long and long. Through the millennia, life goes on and on. It's just that the hermits on the Ultimate South Mountain, why they went there, may have ended up writing different stories because they had different motives.
Just like the great mountain that broke off the land of Qin and Shu, although it was the taoyuan destination of the Yishida people, it also took a shortcut to the heavens for the disciples of Lilu.
Why do Chinese love to hide?
The answer to this question can be complicated to dig into. Because from the very beginning of the appearance of the matter of seclusion in Chinese books, the motive for seclusion is vague.
The poem "Kao Yu" in the "Book of Poetry and Wei Feng" is regarded by posterity as the source of Chinese hermit poetry, and it describes such a vague hermit:
Kao Yu is in the stream, and the master is wide. Alone and lonely, eternally.
Kao Yu in A, Shuo Ren Qi. Sing alone, never forget.
Kao Yu is on the land, the axis of the Shuo people. Sleep alone, forever yafu.
- "Poetry, Wei Feng, Kao Yu"
When I used to read this poem, I always thought that its title, "Kao Gun", was strange to read. What does this strange word mean? The Biography of Mao's Poems explains the two words separately, saying:
Kao, Chengye; 槃, 樂也.
- "Mao Shi Justice"
Taken together, "Kao Gun" should mean self-enjoyment. From the point of view of exhortation alone, there is nothing wrong with this explanation.
But here's the problem—it looks more like the opinion of a linguist who is not very good at literature, because this understanding clearly lacks the sense of image necessary for literary creation, especially poetry: for what reason does one enjoy oneself in a desolate mountain stream? How does his happiness manifest itself? The poem cannot find a concrete and sensible image to answer the above question.
For this reason, later poetry critics who read "Kao Yu" will always want to bypass "Mao Chuan" and find another way to understand. For example, the Qing Dynasty scholar Fang Yurun, who wrote the "Primitive Book of Poetry" quoted Huang Yizheng as saying:
The hammer, the frame of the wood for the chamber, the righteousness of the knot.
- "The Primitive Book of Poetry"
The word "槃" was changed from "happy" to "framed house", so that "kao gun" became "knot in the mountain stream". Thinking of Tao Yuanming's "Knot in the Human Realm", this is also like the appearance of a hermit. It's just that in this way, I always feel that "Kao Yu is in the stream" and the next sentence "The Breadth of the Shuoren" seems to have some prefaces that do not match the afterword.
To illustrate this question, we may wish to take the first chapter as an example to sort out the logic of the poet's writing: "Alone and lonely, eternally yafu", which means that whether awake alone or sleeping alone, (the hermit) vows never to forget.
Obviously, the literally translated sentence structure is incomplete, and the verb "forget" lacks an object. And this object should be because it has been expressed in the previous sentence "Kao Yu in the stream, the breadth of the Shuo ren", and has been omitted to avoid repetition.
When interpreting the Kao Yu, we usually think that the object of "forgetting" should be "the joy of seclusion". However, once the "hammer" is interpreted as a house, I would like to ask, what happiness is there in building a house in the mountains?
If this matter must point to the happiness of life, then have the ignorant and ignorant wilderness mountain people not all become the "giant people" praised by the poet?
Therefore, I would like to prefer the following understanding of the idea that "the breadth of the master" is a kind of life state extracted from the behavior of "examining the stream".
So the question is, what kind of behavior should "kao yu in the stream" be? Chen Fuliang said:
Exam, buckle also. 槃, instrument name. The cover buckles are based on festival songs, such as drums and pots for fun.
- "Biography of the Collected Poems"
"Zhuangzi Grand Master" tells such a story:
Zi Yu and Zi Sang You. And the rain for ten days. Zi Yu said: "Zi Sang is sick." "Wrap up and eat." To the Gate of The Son. Then if the song is like crying. The drum and the piano are cloudy. Sub-public opinion. "The Song of the Son." Why? "Wu Sifu has made me to this extreme and not to be able to do it." Do my parents want me to be poor? Is the heavens and the earth poor to me? But to this extreme. Fate also. ”
- "Zhuangzi, the Great Grandmaster"
Poor and sick but able to perceive the Mandate of Heaven, Anzhi Ruosu, as the son of Yi Shi Da, he showed exactly this kind of demeanor.
And the so-called "Kao Yu in the Stream" is just to change the test of the heavens to Zi Sang into another form: to live in the mountains, to sing and sing, to stand and scream, this is also a "Shuo ren"!
I'm also not sure if I misunderstood Kao Yu or whether Kao Mu wasn't originally intended to create a hermit of Lao Zhuang.
However, from the two sentences of "Solo Song, Eternal Ya Fu Chen", I really can no longer see the thoroughness and open-mindedness of the Zi Sang Drum And Piano.
The Biography of Mao says: "Ya" means "oath". "Singing alone, eternally praising", that is, even when drowsy, the protagonist does not forget to remind himself that he should be content with the present life.
In this interpretation, the core message of Mao's biography is "always remember [this happiness]."
At this point, something interesting comes: the Ming Dynasty poet An Shifeng and the Japanese scholar Taketomi Hikhiro, when they explained the "sleep alone" cloud, invariably wanted to dilute the message of "always remember" and change it to "forget". An Shifeng said:
Cen Lonely's self-satisfaction is like a sense, and his words still have the meaning of perseverance. The song is happy, and the su is happy and forgetful.
——" Commentary on Poetry", reprinted from the Commentary on the Book of Poetry
And Zhu Tian Guanghong said:
Eternal Ya Fu Chen, Ya, Oath Also; Yu, Forget Also; Fu Chen, Don't Forget is Happy Also. If the tent is empty and the mountain people go, they will forget it. The so-called oath is the poet's description of the strength of his ambition, and the non-wise man really has this oath.
- "Mao Shihui Notes"
"Mao Chuan" desperately emphasizes "not forgetting", but An Shifeng and Zhu Tianguanghong quietly changed "not forgetting" to "forgetting". Exactly, what flaws did they see in the interpretation of Mao Chuan?
I think the following story might give us a hint:
It is said that the northern Song Dynasty theorists Cheng Hao and Cheng Yi went to a friend's house for a banquet. At times, there are singers and prostitutes to help, the tone is gentle, and the dance posture is charming. Seeing this scene, the younger brother Cheng Yi thought that he was insulting Sven and retreated with his sleeves folded. Cheng Hao, on the other hand, was at ease and returned home with pleasure.
The next day, when the two brothers talked about this matter, Cheng Yi was still angry between his words. Cheng Hao laughed: "Yesterday there was a prostitute in the seat and I 'had no prostitute in my heart'; today there is no prostitute in the seat and you 'have a prostitute in your heart'." Cheng Yi listened and was immediately ashamed.
Psychologically speaking, love means acceptance, while hate represents resistance. The strong sense of love certainly indicates that the object of love occupies an important place in the heart of the person who has shown affection; but the strong resistance also marks that the object of resistance exerts a strong influence on the resister.
In the sense of showing presence, whether the nature of the influence is positive or negative, the object of love or hate has taken root in your mind.
This is why Cheng Yi must be ashamed--his words show that these singers make him care a lot (although this care is distorted in the form of resistance), and his brother Cheng Hao, who is smart, is smart, and people don't care.
Let's go back and say "Sing alone, Eternal YaFu chen".
If it is interpreted as "never forgetting" as in "Mao Chuan", then the image of this hermit is a bit of a shadow of Cheng Yi: even when dreaming, you have to remind yourself not to forget the joy of seclusion, and the subtext may be that he is worried that he will one day forget this happiness.
From Zhuangzi's point of view, such a hermit, his motive for seclusion is no longer simple, his secluded mentality is no longer natural, of course, he is also isolated from a real hermit.
Therefore, An Shifeng and Zhu Tianguanghong had to secretly cross Chen Cang and change the "forgetting" of "Mao Chuan" to "forgetting", because they did not want this hermit to "learn from Cheng Yi" but wanted him to "learn Cheng Hao".
There is nothing wrong with the intention of this change, but it does not distort the facts. The fact is that the poetic civilization clearly writes "Eternal Ya Fu Chen" - never forget.
Why did the author of "Kao Yu" write a "Cheng Yi style" hermit? I think it is possible that the poet's clumsy artistic conception has messed up the image of the hermit he has created.
That is to say, the poet wants to highlight the hermit's firm belief in the reclusive life and the choice of no regrets.
But I did not think that it was this emphasis that helped to make a true hermit a hypocrite. If this is the case, it can only be said that in the era when Chinese poetry was just born, the level of creation was too young.
Of course, there is another possibility. In the preface to the poem, the Biography of Mao says that the hermit in the Kao Yu was unfortunate to live in the chaotic world of Wei Zhuanggong's rule—the state was foolish. In this way, his seclusion may well have been forced.
Since his heart was unwilling to go into hiding, he would one day leave the "Ultimate South" and return to the human world. The so-called "Eternal Ya Fu Chen" is just a matter of forcing himself to spend more days in the mountains.
— THE END —
The text | Prince of Jin
Typography | cream belly
The picture | the network