There are many versions of the legend of The Gan General Mo Evil, which first appeared in Liu Xiang's "Biography of Lieshi" and "Biography of Filial Piety" of the Western Han Dynasty, telling the story of Gan, who was killed after casting a male and female sword for the king of Chu, and his son was determined to take revenge when he grew up, bribing the guest with his head and beheading the king of Chu on behalf of him. In the Eastern Jin Dynasty Ganbao's "Search for God", this story has been further improved and more widely known.
This folk tale was basically fixed in the Jin Dynasty, and the plot was added, and the Mo Xie couple cast this iron into a double sword. After the widow's eyebrow ruler dedicated the sword and his own head to the chivalrous guest, the process of the three heads of the eyebrow ruler, the chivalrous guest and the Chu king being torn apart in boiling water was added, and the three boiled heads were buried together, which was the origin of the "Three Kings Tomb".
During the Ming and Qing dynasties, the story of the "Tomb of the Three Kings" slowly broke out of the framework and added the color of mythology, like Feng Menglong's "Chronicle of the States of the Eastern Zhou Dynasty", there is an interpretation of "the sword jumps out of the box and turns into a green dragon".
Although the versions are different, the core of "forged sword" - "killing the king" - "revenge" is the same. It is precisely with the core of this story that Mr. Lu Xun has made a more dramatic filling, using ancient metaphors for the present to show a very avant-garde artistic connotation.
It is worth mentioning that Lu Xun's "chivalrous guest" incarnated into a "black man" named Yan Zhi'ao. And Yan Zhi'ao happened to be the pen name that Lu Xun had used.
The Feaster offered to take revenge on the Eyebrow Ruler on the condition that the Sword and Head of the Brow Ruler be desired. After slashing his head with his sword, he did something difficult to understand:
"Huh!" He took the sword in one hand, squeezed his hair in the other, lifted the head of the ruler between his eyebrows, kissed twice at the hot dead lips, and smiled coldly and sharply.
For this black and strange swordsman, the sudden "battle righteousness" and "kiss" really felt both abrupt and inexplicable, and why did the ruler between the eyebrows cut off his head without hesitation with only a few words from the black man?
<h1 class="pgc-h-center-line" data-track="9" > understand "two kisses", first understand the meaning of the two characters</h1>
In the past two years, the drama has become very popular, and there are many people who are pursuing it. On the positive side, our understanding of gender relations is broader and more inclusive. However, based on this sense of identity, it is somewhat dumb to arbitrarily seek strong correlation support from literary classics.
In the Records of the Western Han Dynasty, the ruler between the eyebrows was named "Red Nose"
For example, I am very surprised that Mr. Lu Xun's "Cast Sword" will be classified by some people as a beauty category, saying ridiculous words such as "The Ao of the Feast is a broken sleeve, and once liked the dry general". This is nothing less than a blasphemy against Mr. Mister's work, let alone an understanding of his writing background and historical significance, so as to give the most basic and serious respect.
To understand the two kisses of the feaster on the head of the ruler between the eyebrows, we must first understand the meaning represented by these two people.
01, why is the feast of the Ao is "black"
The book describes the appearance of the feasters as follows: "A man of black, black beard and black eyes, as thin as iron", "eyebrows and hair are black; thin cheekbones, eye ring bones, and eyebrow ribs are all protruding high." "This is very close to our impression of Mr. Lu Xun, with thick black hair, always wearing a black robe, thin and cold.
Black is also the tone in Lu Xun's literary creation. Wei Lianzhen in the short story "The Lonely Man" is "fluffy hair and thick black eyebrows occupy a face, only to see two eyes glowing in the black gas"; the passerby in "Passerby" is "black whiskers, messy hair, black shorts and pants are broken"; "On the restaurant" Lü Weifu is "messy hair, thick and black eyebrows"...
They are spiritual loners, real despairers, lone rebels, and the feasters gather all these qualities.
The Ao of the Feast informs the King of the Eyebrow Ruler that he is arresting him, and the Eyebrow Ruler is horrified: "How do you know me"? The feaster's answer was, "I've always known you." He asked, "Do you sympathize with our orphans and widows?" "Answer:
The eyebrow ruler entrusted the head and sword to the feaster
"Righteousness, sympathy, those things, which were once clean, are now the capital for the release of ghost debts. I don't have what you call it in my heart. I just want to avenge you!" ”
This answer is even more puzzling, a mysterious person, without any selfishness, without glorifying himself and without asking for anything in return, regards the hatred of a stranger as his own vendetta, for what purpose? The last question of the eyebrow ruler also represents the reader's question: "But why did you avenge me?" Do you know my father? ”
The answer of the Feast of Ao is full of philosophical implications:
"I have always known your father as I have always known you. But I want to take revenge, but I don't want to do it... Yours is mine; he is me. There are so many wounds in my soul, and I have hated myself! ”
The one who feasts on Ao represents is not a person. Rather, it is the whole that bears pain and scars, and under the shackles of the common era, hatred is also connected, and revenge against the brutal king is a pure "selfish self" and a "no-self" rebellion.
And that sentence is the sadness of being in the darkness but powerless to break through the darkness, and the back of hatred is the anger and helplessness that cannot change the reality. It is Lu Xun who will issue the almost desperate "Scream" from the painful resistance, and his work uses black to stir up the endless darkness, as said in "The Farewell of The Shadow" - I will wander into the darkness.
The black feast of Ao is a projection of Mr. Lu Xun himself, and the Ao of the Feast carries a sword and a head to take revenge on the King of Chu, just as Lu Xun used a pen as a sword, carrying the anger of the rebels who were bloody and recommending Xuanyuan, and writing a text that tore through the darkness.
02, the death of the ruler between the eyebrows
Although "Cast Sword" is a short story, the beginning tirelessly describes the confrontation between the eyebrow ruler and a mouse.
Worried that his mother, who was tired of work during the day, was awakened by the sound of rats biting at night, he got up and pressed a rat that accidentally fell into the urn to the bottom of the water with reed wood, and finally he couldn't bear to let go of his hand, so he repeatedly tangled for a long time, and finally rescued the rat that was about to drown out of the urn, but when the rat turned over and fled, he stepped on it in a panic.
The ruler between the eyebrows pitied the rat, and his heart was very uncomfortable. His emotions fluctuate between hatred and pity, the rats quarrel with his mother and son every night, and his killing of the rats is also a small revenge, and the hesitation and softness of heart reflect the good and gentle disposition of the ruler itself. It also laid the groundwork for his real revenge later.
Father's words, "Cut at the king's neck, avenge me!" The last words pushed the ruler between the eyebrows onto the inevitable path of revenge, and the mother pushed him out when he had just turned 16:
On the way, he was worried that the transparent sword on his back would hurt others, so he was careful and retreated, so he was pushed out of the crowd of onlookers, missing the opportunity to assassinate the king, and exposing himself. Youthful youth, youthful revenge.
When the Black Feaster threw out hope for him who had lost his chance of revenge, this young man, who was so kind and somewhat weak, did not hesitate to swing his sword and cut off his head:
The eyebrow ruler raised his hand to draw the blue sword from his shoulder, and slashed forward from the back of his neck socket, his head falling on the moss on the ground, while handing the sword to the black man.
对陌生人果决的信任与勇敢的自我献祭，与自身性情的对比，表现出一种强烈的戏剧性的张弛，使他的死亡有了一份触目惊心又肃然起敬的悲壮，亦透露出眉间尺对于复仇的坚定与无畏。
When the feaster offered the head of the ruler between the eyebrows to the king, there was a detailed description of his appearance, his head was a long eyebrow, red lips, bright teeth, a smile on his face, and his dark eyes were particularly brilliant. How vibrant, but it is describing a dead head! Youth and death merge in a contradictory way, like flowers blooming in the dirt, the flowers are more dazzling, injecting a strong spirit of revenge into the dedication of the eyebrow ruler, and reading it is moving.
Thinking of Lu Xun's essay, talking about the awakened people, from the perspective of resistance to look at the revenge of the eyebrow ruler, he and the feast of the Ao people hate the same place, are in the darkness at the expense of the people to resist, they are like the "passers-by", knowing that the front is the grave is still walking in search of hope passers-by, doomed to be lonely revolutionary explorers. 但也正如鲁迅所说：
"Although I know that the road ahead is a grave and I have to go, I am resisting despair, because I think that despair is easy to resist and difficult, and it is braver and more tragic than fighting because of hope."
<h1 class="pgc-h-center-line" Data-track="37" what is the meaning behind the two "kisses" ></h1>
"Cast Sword" was originally published in 1927, and the semi-monthly magazine "Mangyuan" was published in the second volume, no. 8 and 9 (originally titled "Eyebrow Ruler"). Prior to this, there was a well-known "great wave of female teachers", and Lu Xun, who was also a teacher of the Novel History Department of the Department of Literature and Literature of the Great Female Teacher, had been actively involved in it. In order to resist the feudal persecution, the young female students Liu Hezhen were unfortunately killed. Lu Xun wrote the article "Remembering Liu and Zhenjun" with sadness.
There is a sentence in the text:
Privately, I think that I can best interpret the feelings of the Ao of the Feast for the ruler between the eyebrows.
Like a pack of wolves with cold-blooded spectators
There is no shortage of "spectator" images in Lu Xun's works, as well as in "Casting Swords". The people who stretched their necks and flocked to watch the king's honor guard, the idlers who coaxed and echoed when they were beaten and blackmailed by the teenagers on the street, the wolves who waited for the opportunity to eat and lick the body of the ruler between the eyebrows, the queen concubines who rushed to Jinding to see the three-headed fight...
They are like Le Pen's "The Ragtag Crowd", numb, indifferent, narrow and stupid, cold "outsiders", ruthless "connoisseurs".
Those who knelt on the ground and looked up at the tyrant's honor guard were glorious afterwards, bragging to each other about who was prostrating lower; the eyebrow ruler did not intend to bump into the teenager, worried that the tip of the sword on his back would hurt him, but the teenager wanted to take the opportunity to punch a few punches and ask for "compensation"; the queen concubines and ministers and eunuchs, after seeing the head of the ruler in boiling water between their eyebrows, had no pity, and everyone was happy, as a trick to relieve boredom...
When the king first sought the best swordsman in the world to forge a sword, he wanted to use this sharp weapon to kill the enemy and defend the country and the four sides, but in the end, because of his own selfishness, he killed the caster and pointed the sharp edge of the blade at his own people. Because of the king's desire for power, the sword lost the right path itself represented, deviating from the original intention of beauty.
The "Miscellaneous Sayings of the Forest" says that after the king of Chu obtained the female sword, the sword was in the box, and there was often a sad cry, which was issued because of the memory of the male.
Judging from the image of the sword, the black feaster represents the right path itself. Before he cut off the king's head and entered the Ding, as the charcoal under the Ding burned, his whole body turned red and black, like a sword forging, and his soul suffered the wounds inflicted by man and me, so he hated himself. After seeing that the head of the ruler between the eyebrows was inferior to the king's head, he beheaded the head neatly and attacked it together, and this destructive sacrifice was his despair of the reality of the collapse of the right path, and he did not hesitate to ring out the sadness of death.
Unlike those insensitive spectators, the young eyebrow ruler fearlessly gave his life in order to resist revenge. "A true warrior, dare to face the bleak life, dare to face the dripping blood", the sword and the head, is faith and sacrifice, cut off the head and handed out the sword, completed the transfer of spiritual intentions. At this moment, the Ao of the Feast was no longer a lone pioneer, he trusted and understood each other with the eyebrow ruler, and developed a flesh-and-blood connection with this "companion".
So he "kissed twice on that hot dead lips," once in mourning and once in praise.
From this perspective, try to relate to "In Memory of Liu and Zhenjun" to understand the profound meaning expressed in "Cast Sword".
<h1 class="pgc-h-center-line" data-track="50" > written at the end</h1>
During the May Fourth period, the influence of Japanese literature on the new culture was more profound. As a pioneer of modern Chinese literature, Lu Xun was also one of the earliest scholars to study Japanese literature. Classic works such as Ryunosuke Wasagawa's "Nose" and "Rashomon" were translated by Lu Xun.
。 From Lu Xun's preface, we also see his understanding and reference to the core of Japanese writers' literature, this "new life" is to deconstruct tradition, reflect on reality, and reshape the deep world of human nature.
At the end of the novel, the three heads are unrecognizable, and the princess ministers yawn all night and exhaust all kinds of absurd methods to detect, still unable to determine which head is the king's, and finally negotiate a very "clever" plan: all three skulls and the king's body are buried in a golden coffin.
The will to revenge and the spirit of serious resistance that had been built up at the beginning were instantly dissolved in absurdity, and all the people watched the "great funeral" with excitement, and a few loyal people swallowed tears, afraid that the souls of the two rebellious thieves would also enjoy the sacrifice with the king at this time...
In the end, it is still a group of unconcerned viewers who occupy the picture, and everything returns to the deepest philosophical level: revenge and the avenged, what is the meaning of existence?
-End-
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