Caption: Li Keyan's "Long March"
This is not writing about people, but about people's psychology. This is not to write that mountains are turning over rivers and seas. This is to write that Mao Zedong's heart is turning the river upside down. This is to write that Mao Zedong's heart is surging and his heart is rising higher and higher. This is not to write that the mountain is still in the midst of a thousand horses. This is to write that Mao Zedong had ten thousand horses in his mind. This is writing about Mao Zedong hiding a general in his chest and hiding a male soldier in his belly. This is writing a thousand autumn histories in the palm of Mao Zedong's hands, with millions of soldiers in his chest.
The cross-horse whip is not saddled
Text | Xi Rende
Sixteen words order three songs
From 1934 to 1935
Mao Zedong
Mountain, fast horse plus whip without saddle. Looking back in horror, three feet three feet away from the sky.
Mountains, upside down seas turn over rivers and rivers. Rushing and rushing, ten thousand horses are still fighting.
The mountain, pierced the blue sky and was not damaged. Heaven wants to fall, and it depends on it.
* Folk song: "There is Skull Mountain on the top, Eight Treasure Mountain on the bottom, and three feet and three feet away from the sky." When a man passes, he must bow his head, and when a horse passes, he must get out of the saddle. ”
Word spectrum
Sixteen-word order
Flat (rhyme). Zhongqi PingPing 仄仄平 (rhyme). Ping Ping 仄, Zhong 仄仄平平 (rhyme). Sixteen characters, hence the name "Sixteen Character Order". Also known as the "Ballad of Cangwu". monotony.
"Three feet three feet away from the sky" is struggled by quoting folk songs. The word "desire" of "heaven wants to fall" is to make a flat sound with an inset voice. In the Song Dynasty, it is very common to use the sound as a flat voice, such as Zhang Xian's "Tasha Xing": "Secret Intention to Pass", "Desire" is to make a flat sound.
01
These sixteen characters make three songs, although they are three songs, but the same tone, the same title, the same rhyme, is for the joint chapter style.
The joint chapter style refers to the poetic style of expanding the content in a juxtaposition. In layman's terms, it is to write the same related thing in two or more songs, or a group of words. It originated in the Sui and Tang dynasties. Developed in the Song Dynasty.
There are five kinds of Song zi joint chapters, drum words, turning steps, big songs, and law songs. Ordinary joint chapters, there are homologous sub-rhymes, homologous rhymes, homogeneous heterophony and other types. Mao Zedong's word is the same title - mountain, homology - sixteen character order, second rhyme - "Zi Lin Zheng Rhyme" part vii, flat sound: thirteen yuan (half) fourteen cold fifteen deletion one first common.
The joint chapter breaks through the limitations of length and word count, and provides a broad space for expanding content, enriching connotation, and displaying skills.
The Song Dynasty Lianzhangzi directly inherited the creative experience of the Tang Dynasty Lianzhangzi, and under the influence of other factors in the Song Dynasty, it made great progress. The most famous example is the anonymous "Nine Sheet Machines". This word comes from the Le fu Ya Ci. The book "Lefu Yazi", compiled in the sixteenth year of Shaoxing in the Southern Song Dynasty (1146), is the earliest collection of words selected by the Song Dynasty to compile song words. The selections in this book are all Song Dynasty poets. It began with Ouyang Xiu and ended with Li Qingzhao. And the anonymous "Nine Zhang Machine" is not seen elsewhere. It is not only precious, but also reflects that it was widely circulated in the Northern Song Dynasty and the early Southern Song Dynasty. These nine words, each with the same grammar, each beginning, respectively, with "one machine" and "two machines" ... Come and sing. Can not be divided, each song, equivalent to a chapter in the song, so called "joint chapter body". Other joint chapters include: "December", "Five More", "Ten Views of Yueyang", "Reporting Flower Names", "XiangLian", "Four Brothers For Long Work", "Hanging Red Lights", "Five Brothers Herding Sheep", "Ten Pairs of Flowers" and so on.
02
The total time of writing of these three short orders is "1934 to 1935"
Can you speculate on the specific time when each song was written?
I think that after many years, Mao Zedong himself could not remember the exact time. We are even less able to determine their exact, exact time. Although the three poems were made at different times and places on the Long March, they were successively chanted, but from the perspective of intention and finalization, they were a whole of intentional planning, and there was no need to separately indicate the specific writing time.
Of the thirty-nine poems of Mao Zedong, the "Sixteen Character Orders Three" are arranged after "LoushanGuan" and before "Long March". Lou Shan Guan was written in February 1935. The Long March was written in October 1935. It is speculated, then, that the "Sixteen Character Orders and Three Songs" should have been written around February 1935 to October 1935. More precisely, in October 1935, or a little before. Poetically, it is written about the pride of the Long March when it is about to triumph. It should be the preface to the poem "Long March", which is a little bigger, a sister piece. If the poem "Long March" is a summary poem of the Long March, then "Sixteen Characters Order Three" is a summary poem of the Long March. Summarize first, then summarize.
Moreover, Mao Zedong's Long March poems "Long March", "Kunlun", and "Liupanshan" were all written in October 1935.
The Long March is a famous event in ancient and modern China and abroad, how can it not be recorded. How can one who has personally experienced it, a conductor, and a poet not record it in the form of poetry? In October 1935, the victory of the Long March, or the imminent victory, Mao Zedong had time and the mood to write poetry, which was the outbreak of his poetry. So I concentrated on writing several poems, including "Sixteen Character Order Three Songs".
However, then again, because these three small orders are purely written scenes, there is no obvious background of the times, does not affect the knowledge or understanding of historical events and characters, and it is enough to know this approximate time, there is no need to go to "archaeology".
■ The Long March Five Ridges of the Yuecheng Ridge
03
Since there is no need to consider the time of writing each word. Again, then, there is no need to examine which mountain each word is written about, or whether the three words are written on three mountains or a mountain.
Any speculation, after all, is speculation and cannot be used as a basis. Moreover, according to Mao Zedong's exposition that literary and artistic works must be typicalized, it is wrong to equate the themes in Mao Zedong's poetry creation with specific materials. Literary and artistic works are not reproductions of real people and real events, they are "higher, more intense, more concentrated, more typical, more ideal, and therefore more universal than actual life." ”
I believe that the mountains sung by this group of words from different sides should not be regarded as merely referring to a certain mountain in a certain place at a certain time, but should be understood as an artistic summary of what Mao Zedong saw, heard, experienced, and conquered during the Long March, many mountains, large and small.
Writing poetry cannot be implemented, and interpreting poetry cannot be restricted. In the elaboration of symbolic meaning, do not talk too deadly, but strive to live a little.
These three small orders all begin with the word "mountain", which not only has a combinatorial effect between the three songs, but also actually combines pronoun titles to indicate the object of the song.
It is worth noting that these three words, everywhere is written mountain, but also everywhere is praise, not sticky, non-linked, witty puns, vivid, and intriguing. Literally, it is purely to write mountains, and from the perspective of purpose and final artistic effect, it is written about people. In fact, the image of the mountain and the image of man have been organically integrated, and there is no longer any explanation. Mountains are not good for concrete implementation, and people cannot be concretely implemented. This person can be individual or group. It can even be said that this man is abstract and spiritual. Because, this mountain, too, is abstract and spiritual.
■ Pangling, the capital of the Five Ridges of the Long March
04
The Sixteen Character Order is the shortest of the more than 800 existing word plates, except for the Ballad of Bayu. Due to the small number of words and limited capacity, it is difficult to express huge historical themes and express heroic passions. In the history of words, the only few poems are works with poor content, insufficient ideas, and small artistic conceptions.
However, these three poems of Mao Zedong were able to absorb the mustard seeds, write the style of epic poems in small words, and with exaggeration, metaphor and symbolism, and with extremely vigilant language, erected a monument to the immortal poems of the Long March, and created a heroic image for the Chinese Communists and the red army soldiers who tread on thousands of peaks and held their heads high in the sky, forever admired!
Poetry is refined literature. Although these three words of Mao Zedong are called sixteen character orders, if the first word "mountain" is removed, it is used as a word title. In fact, each song is only fifteen words. Fifteen words is equivalent to only two sentences of a seven-word poem. Even if it is a long link, it is not a long link.
Mountains are natural obstacles often encountered during the Long March. Such as: Yuecheng Ridge of Wuling Mountains, Miaoling Of Yunnan-Guizhou Plateau, LouShan, Wumeng Mountain, Xiaoxiangling of Sichuan, Menghugang, Daxiangling, Jiajin Mountain of Hengduan Mountain, Mengbi Mountain, Changban Mountain, Dagu Mountain, Tuoluogang, Minshan Mountain, Liupan Mountain, and so on.
The mountain is a frequent visitor to Mao Zedong's poetry. In Mao Zedong's early poetry, there was almost no mountain without poetry. There is a poem about a mountain, and a poem about several mountains, but none of them are specifically written about mountains. But these three words are specifically written about the mountain, and they are written together. This is the concentrated embodiment and special performance of Mao Zedong's mountain poetry, and it can be said that he is the master of writing mountain poetry.
Mao Zedong's poems are written on many subjects. And the most written, the best, is the mountain.
■ Dayu Ridge of the Five Ridges of the Long March
05
No: No, no. Lower saddle: Dismount. Surprise: Surprise, surprise. It can also be understood as sudden. Looking back: Looking back. Looking back: Looking back at the mountain because of surprise at the height of the mountain, and being surprised and proud of looking back at the mountain's incomparably high risk. It can also be understood as a sudden look back. Three feet three feet away from the sky: trying to describe the height of the mountain. "Three feet three" is not a real number. "Three Qin Records Folk Songs": "Lonely clouds and rain horns, go to the sky to shake." Li Bai's "Shu Dao Difficulty": "Lian Feng went to the sky and did not win a ruler." ”
This song quotes a folk song. The folk song exaggerated the tall and dangerous obstacles of the mountain: "When a man passes, he must bow his head, and when a horse passes, he must get out of the saddle." "It shows man's powerlessness toward the mountain, and it reflects the height of the mountain with man's submission. Mao Zedong's poem, however, uses the height of the mountain to reflect the greatness of man.
In front of the high mountains, the Red Army did not get out of the saddle, lead the horse, bow its head, nor did it lie in the saddle, slowly walking, staggering, and even less as Li Bai described in "Shu Dao Difficulty": "Pray to the well and breathe on the back, and sit with your hand on the eagle and sigh." On the contrary, no matter how high the mountain is, it is not as high as the ambition of the Red Army. They whipped their horses and jumped over. They swallow mountains and mountains, walk in danger, no height can not be climbed, no danger can not be crossed. As Mao Zedong said: "In the face of the Communist Party and the Red Army, all the difficulties commonly spoken of do not exist, the most serious difficulties can be overcome, and the Red Army is invincible in the world." ”
The heroic verse "Hurry up and whip without getting out of the saddle" fully expresses the fearless spirit of the Red Army that dares to defy difficulties and overcome difficulties. At the same time, it also showed the eagerness of the Red Army to fly over Guanshan, break through the heavy siege, completely smash the enemy's fifth encirclement and suppression, and rush to the anti-Japanese front.
The opening chapter is cast with a single word, splitting the first word "mountain", giving people the feeling that "the mountain starts from the human face", and the mountain comes to the face, which is extraordinary. Then, there is another unexpected seven-word sentence: "Fast horse and whip not saddled."
The last two sentences are even more amazing, and even the shooting case is amazing: "Looking back in shock". Immediately after, "unsaddled", it is written that it is not to get off the horse to rest and watch in silence. Because, looking at it that way, and writing it that way, it is bland and tasteless. It is written that man rides on a horse, the horse does not stop hoofing, man does not saddle down, and suddenly looks back, and the mountain peak that is high and meets the sky has bowed its head under its feet. This is the pride that arises spontaneously, the pride after the conquest, to the fullest. This fascinating way of writing creates an extremely strange and police mood and creates a respectable heroic image of the Red Army soldiers.
Why do I understand "shock" as "suddenly"?
This is to understand, whether to write up the mountain, or to write down the mountain. I think it should be written up the mountain, get to the top, and suddenly look back. It's from the top down. This is a natural act of climbing, or climbing, to the top of the mountain in general.
If "surprise" is understood as "surprise" or "surprise", "surprise looking back" should be changed to "looking back". I looked back and was surprised, surprised. If you understand it this way, the mood is too thin. With the above "fast horse and whip without saddle" also appears to be incongruous, inconsistent, disharmonious, not in the same line.
Only when he looked back suddenly did he appear to be fast and unsaddled. Only when the fast horse and whip did not get out of the saddle and rushed to the top of the mountain at once, would they suddenly look back.
Words are unexpected, meanings are outside the poem. When we read poetry, we must go deep and simple, we must read the poem outside, and we should not be entangled in the poem and cannot extricate ourselves.
■ The Long March Five Ridges of riding Tianling
Invert the sea and turn the river: that is, the idiom "turn the river upside down the sea". Rolling Up Huge Waves: Rolling up huge waves. Cen Shan's "Floating Map of ci'en Temple with Gao ShiXue": "Even the mountains are like waves. "Pentium: Mercedes-Benz Soaring." Urgent: Urgent, urgent. Han Yu's "Nanshan": "Or a horse suddenly". Wanma: Many horses. The "horse" here is not the "horse" of the first "fast horse". The "horse" here is the figurative "horse", which is the "mountain". "Ten thousand horses" is many mountains. Jude: Also, positive. Drinking: Refreshing, painful. The original meaning is to drink half drunk, and by extension to be happy and intense. Battle: The battle is raging.
This song, using the artistic technique of turning stillness into action, has brought the mountain to life. Through the metaphor of two images, the theme is expressed and the mountain is written.
Mao Zedong turned the silence into motion, and wrote the mountain to life: "The mountain dancing silver snake, the original chi wax statue, wants to be higher than the Tiangong test." "The five ridges are full of thin waves, and the mud pills are walking in the mud." It's all a big deal! This is all a song of eternity!
In the instant after reaching the top of the mountain, I suddenly looked back, looked down, and felt that it was three feet three feet away from the sky. That's a look.
Then, it's looking sideways, looking into the distance, looking far away, looking around, looking around. No need to be alarmed, do not look back, look relaxed, look slowly, look carefully.
What do you see? What you see is the mountain that "overturns the sea and overturns the river", and what you see is the mountain where "ten thousand horses are still fighting". What you see is a mountain like the sea, what you see is a mountain like a river, and what you see is a mountain like a horse. What you see is not a static mountain, you see a mountain that has fallen over, you see a rushing mountain, and you see a mountain that is still in battle.
Is this true? This is not true. This is not true in nature. But, again, it's true. It is the authenticity of art, the authenticity of poetry. This is romantic poetry. That's the bold word. This is art, this is poetry.
In fact, this seems to be writing about mountains, but it is not writing about mountains, it is writing about people, writing about the revolution of the Communists, and writing about the Long March of the Red Army. "The upside down sea turns the river into a huge wave." Rushing and rushing, ten thousand horses are still fighting. "This is a portrayal of their revolution and the Long March."
In fact, this is not writing about people, but writing about people's psychology. This is not to write that mountains are turning over rivers and seas. This is to write that Mao Zedong's heart is turning the river upside down. This is to write that Mao Zedong's heart is surging and his heart is rising higher and higher. This is not to write that the mountain is still in the midst of a thousand horses. This is to write that Mao Zedong had ten thousand horses in his mind. This is writing about Mao Zedong hiding a general in his chest and hiding a male soldier in his belly. This is writing a thousand autumn histories in the palm of Mao Zedong's hands, with millions of soldiers in his chest.
I read the poem again.
■ The Mengzhu Ridge of the Five Ridges of the Long March
Qingtian: In myths and legends, the sky is made of green jaws, so it is called qingtian. Scythe: Tip of the sword, blade of the sword. Unscathed: No damage, still intact, sharp. Fall: Fall, fall. Heaven wants to fall: The sky is going to fall. RY: Dependence, dependence, dependence. TO: Used. Lai: The omission of the reliance. 拄: support, verb. In between: between heaven and earth.
This poem also uses two novel and apt metaphors.
"Piercing the qingtian is not broken", the mountain metaphor pierces the sword of the qingtian, and writes the sharpness of the mountain. "Heaven wants to fall, and it depends on it." Compare the mountain to the giant pillar that stands on top of the heavens and the earth, optimus prime. The sky is falling, it can be held up, the world is invincible, and it is straight.
The first two songs are written from the front. This poem is written from both positive and negative aspects. Wrote the opposite side of the mountain - heaven.
What is the sky? Or rather, whose day is it?
This day is the day of the Kuomintang, the day of Chiang Kai-shek, the day of Japanese imperialism, and the day of old China.
What about this mountain?
This mountain is the Communist Party, this mountain is the Red Army, this mountain is Mao Zedong, this mountain is a fast horse, this mountain is a sword, this mountain is Optimus Prime. This mountain is fast and whipped, this mountain is overturning the sea and the river, and this mountain pierces the blue sky.
Piercing the blue sky and knocking down the Buzhou Mountain is the same revolutionary spirit! Piercing the blue sky is not so much writing about mountains as it is about speaking.
■ The old mountain boundary of the Long March Route
06
These three poems can be said to have written one mountain, three mountains, or countless mountains.
It writes about both the visible and the invisible.
It writes not only about the mountains of nature, but also about the mountains of society.
Today, when we study these three words, we must have the spirit of "speeding up the horse and stepping up the whip" on the new journey, the momentum of "overturning the sea and turning the river," and the vigor of "piercing the blue sky."