【Jian'an Beijie】 The dream is also silent: "Climbing the Stairs" No. 7 - "By the Xuan Sills to look at the north wind from afar and open the placket"
Then let out a sad voice to the north wind, and the block in the chest was blocked for a while.
You can't cross the air, but you can't talk about poverty with the smoke.
"Opening with Xuan Sills looking at the north wind from afar" is the most "King Kong angry eye" stroke in this small fu, which summarizes the entire outline and carries out the pain of mourning and leaving the heart of the country from the mediocre and narrow consumption, which is very three-dimensional, and reveals the poet's bloody bone strength very vividly and vividly. The so-called Jian'an poets are different from their predecessors and have inspired future generations to be simple and strong, and the characteristics of the wind and bone of being active and active in getting rid of generosity and sadness are vividly reflected in this sentence.
The poet went upstairs with a full of depression to look at the distance, this depression with what he saw was "non-my soil" and reached a point of incomprehensibility, and then he thought of the reason for being far away from his homeland from the feeling of "non-my land", and his mood was even more depressed, and this depression finally reached its peak when "looking at the sills with Xuan Xuan".
The expression of this paragraph is very similar to Qu Yuan's "Lamentations", which is about the eclipse of "being a guest in the yangyang", the difference is that Qu Yuan describes in detail every detail on the way to the south stream, boats, cars, people, Han Shui, and the road and the road, the sound of the waves, and the clouds. "The desire of the Qiang soul is to return, so why should it be humbled and forgetful." With the back of Xia Pu and the West thinking, the mourning of the old capital is far away. Climb the tomb to look at the distance, talk about Shu Wu worried. At this moment, Qu Yuan also ascended to the top and looked far away, looking at the sky with great eyes, trying to relieve the depression in his heart.
In this way, both poets chose to ascend to the heights and look far away in the same situation of similar mood.
In Qu Yuan's "Lamentations", starting from ascending to the throne, he turns into a reflection on the unfavorable villains of the imperial court, seeking the crux of the problem.
In Wang Cang's "Climbing the Tower", when ascending to the heights and looking far away to let the depressed mood reach its peak, "opening to the north wind" spreads this depression into the air, just like this depression erupts from the poet's body, we seem to see the poet who is overwhelmed by depression suddenly facing the wind and opening his mind to the open image, this difference also conveys the difference between Wang Cang and Qu Yuan, reflecting the generosity of the Jian'an poet, this "qi" is the unevenness and unwillingness of this moment, and it is even more unyielding and unrecognizable.
Compared with Cao Cao, who was a generation of tyrants, Wang Cang was weak, he could not solve the problem of the times of "the world is chaotic, the customs and customs are resentful", but he also refused to give in to this helplessness, at least at this moment, he stood up his chest and puffed up enough momentum, "north wind" ostensibly means to look north to his hometown, but the cold, strength, sense of oppression, and the lethality of the "north wind" all carry a certain steep and cold characteristic, Wang Cangzhi's "opening to the north wind" embodies the backbone and passion of facing difficulties.
At least at this moment, Wang Cang stood up his chest and said loudly, "No compromise, no flinching."
Remembering the moment when Qu Qiubai sang "The International Song" and walked to the execution ground, Qu Qiubai's body was emaciated and weak, but at this moment, his will and his spirit were invincible, of course, at this moment, his weak flesh was not able to solve the problem of survival, in the face of this dilemma, the release of his spirit broke out not an intuitive method, but an image of xing, and the atmosphere created by the internationale was the last struggle before his strong soul turned into a rainbow...
Wang Cang's tragedy at this time is just like Qu Qiubai's invincibility, his helplessness and helplessness are obvious, but his indomitability is also unswerving, because there is no concrete solution to helplessness, his indomitability is difficult to describe in words, "opening to the north wind" Here is such an expression of indomitable tragic imagery, if he is Cao Cao, he can directly "cross the hammer" instead of "blooming".
This image is the backbone of intellectuals throughout the ages in the face of the fateful and cruel reality that they are powerless to change.
Jian'an poets, those who have the ability to cross the hammer, such as Cao Cao, and those who are unable to bear this burden, such as Wang Cang, all show this integrity in unison. This is the Broad-mindedness of Jian'an Poets, the lofty ambitions of pursuing ideals and the positive and free attitude towards life.
At least at this moment, Wang Yue's spirit stood up the backbone that was about to be crushed by reality, and bravely said "no" to the north wind.
Qu Yuan's "Lamentations" lacks the bone strength of this moment and slides towards the pathos of complaining about the world.
Of course, in "Ascending the Building", such a high momentum only flashed in the climax of "opening the placket to the north wind", and was overwhelmed by the new troubles of "the one who is afraid of the melon", but the original depressed tone brought into the high melody of this moment, so there was also the strong wind bone of the predecessors of Jian'an literature.
Dream is also silent famous poet, poetry critic, lover of classical Chinese poetry practitioner communicator, writer, film and television screenwriter, film and television planner.
Author: Dream Also Silent Editor: Zhang Xuefang
Review: Xiaolou Listening to the Rain Proofreader: Feng Xiao
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Zhang Xuefang (Zhejiang)
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