Appreciation of Chen Yinke's Poetry: Untitled (The World Wants to Kill a Xuanqu)

Original poem: Untitled

The world wants to kill a Xuanqu and make ink grease for negligence.

The barking of the monkey is compassionate, and the sniper is endowed with taro.

Emperor Xiaoya could talk about dreams and wrote books before he found a famous mountain.

Looking back at the thirty-year title, the end of the title is in yihui weeping.

(1954.) ）

Historical Background:

From November 21 to December 1, 1953, Wang Qi, an associate professor of the Department of History at Peking University, brought handwritten letters from Guo Moruo and Li Siguang to Guangzhou to persuade him to go north to take up his post. In the spring of 1954, Beijing again sent someone to invite him to be the director of the second institute of the Institute of History, but he was again rejected; "On the Origin of Regeneration" was completed and could not be officially published, so he could only ask someone to engrave it with wax plates and distribute it to friends. In the same year, the book "Treatise on the Political History of the Tang Dynasty" was officially examined.

On July 4, 1953, Hu Shi's "Hu Shi Wencun" was published by the Taiwan Far East Book Company. In May 1954, Li Xifan and Lan Ling published "On the Brief Theory of the Dream of the Red Chamber" and Others in WenShizhe; in October Mao Zedong, dissatisfied with the mistakes of the "Literary and Art Daily", launched a campaign to criticize Yu Pingbo's study of the "Dream of the Red Chamber"; on October 16, Mao Zedong issued a "Letter on Research Issues", marking the official start of the "Dream of the Red Chamber Research and Criticism Movement" and also marking the launch of a new round of Hu Shi Thought Criticism Movement; on October 18, the Party Group of the Chinese Writers Association held a meeting to convey Mao Zedong's "Dream of the Red Chamber"; on October 18, the Party Group of the Chinese Writers Association held a meeting to convey Mao Zedong's "Dream of the Red Chamber" The spirit of the instructions of the Letter on Research Issues conveyed on 22 October Mao Zedong's oral instructions on criticizing Yu Pingbo's "Study on the Dream of the Red Chamber" and Hu Shi's reactionary thoughts; on October 23, people's daily published Liu Zhongluo's "Criticism of Erroneous Views in Research"; on October 24, "People's Daily" published Li Xifan and Lan Ling's article "What Kind of Road to Take?" On the same day, the Classical Literature Department of the Chinese Writers Association held a seminar on the study of "Dream of the Red Chamber"; on October 27, Lu Dingyi, director of the Propaganda Department of the CPC Central Committee, submitted a report to Mao Zedong and the CPC Central Committee on the criticism of the research issue of "Dream of the Red Chamber". Since then, many colleges and universities, scientific research institutions, and literary and art groups have held forums and seminars on the research issues of "Dream of the Red Chamber", mainly criticizing Yu Pingbo's erroneous views and criticizing Hu Shi, and later the weight of the former gradually decreased, and the weight of the latter gradually increased, until the end of 1956, when the total critical article reached tens of millions of words.

Yu Pingbo: Born on January 8, 1900 in Suzhou, Jiangsu Province, his original name was Yu Mingheng, the character Pingbo. He graduated from Peking University in 1919, and was a classmate of Fu Sinian, Luo Jialun, and Renming, and was the great-grandson of the Qing Dynasty master Yu Fan, whose father, Yu Xiyun, was quite accomplished in the study of poetry. He is a famous Chinese essayist, whose representative work is "Qinhuai River in the Shadow of paddle sound and lights"; is a red scholar, who began to study "Dream of the Red Chamber" in 1921, published "Dream of the Red Chamber" in 1923, revised "Dream of the Red Chamber" into "Dream of the Red Chamber" in 1952, and was called the founder of the "New Red School" together with Hu Shi; was a poet, the first new poem "Spring Water" in May 1918 and Lu Xun's novel "Diary of a Madman" were published together in "New Youth", and initiated the establishment or participation of literary groups such as the New Wave Society, the Literary Research Society, and the Yusi Society He advocated the "popularization of poetry" and became one of the pioneers in the creation of Chinese vernacular poetry. He has taught at Yenching University, Peking University, and Tsinghua University, and has participated in the China Revolutionary Democratic League and the Jiusan Society. In 1954, he suffered from non-academic political criticism and was subjected to long-term injustice. In November 1969, he was forced to work at the Henan Cadre School, and returned to Beijing in January 1971. He died on October 15, 1990 and was buried in Futian Cemetery in Beijing. His major publications include "The Dream of the Red Chamber" ("Study of the Dream of the Red Chamber"), "Winter Night" (poetry collection), "Yanjiao Collection" (prose collection), "Qing Ci Interpretation", "Tang and Song Ci Anthology" and "Yu Pingbo Complete Collection".

Appreciation:

The phrase "the world wants to kill Yixuanqu" comes from the poem "The world wants to kill" in Du Fu's "No See" in the Tang Dynasty, "The world wants to kill, and I intend to pity cai alone", which means that everyone in the world wants to kill him. "Xuanqu" comes from the "Later HanShu Fangshu ChuanXia JiziXun" "Children know their parents, Xuanqu smiles and delights, and wants to go to the same", which means that children raise their hands and shrug their hands to their parents, which is interpreted as a very cheerful look, and later mostly for the meaning of laughter, metaphorically Yu Pingbo or Hu Shi, here specifically refers to Yu Pingbo. The whole sentence literally translates to the fact that everyone in the world wanted to kill him, but he was still very happy. A metaphor for Yu Pingbo's indifference in the critical movement, specifically refers to Yu Pingbo's publication of "A Brief Theory of the Dream of the Red Chamber" in March 1954 in the "New Construction", stating his views on the study of "Dream of the Red Chamber".

In the sentence "making ink and grease for calculation", the interpretation of "ink" means dancing with pen and ink, which refers to writing poems and writing articles. "Ran fat" refers to the lighting of the torch, the genus of the lamp candle. "Shu Shu" has relevant famous sentences in the poems of Yang Wanli, Lu You and other poets, "Zuo Ji" means intended, and "Shu" has various interpretations, which are negligent or absent here. The literal translation of the whole sentence is to dance in the light, neglecting the long-term plan. The metaphor here is that Yu Pingbo or Hu Shi used to only write books and lectures, and did not expect that there would be today's critical movement.

In the sentence "The barking of the monkeys is compassionate", the author of the "Monkeys" notes himself as "Taizhen Waichuan has the record of Kang Guo's monkeys, that is, the so-called 'Beijing dogs' of outsiders today, and our country calls them 'Haba dogs'", referring to the current Haba dogs, alluding to the people who spoke offensively at the criticism meeting of "Dream of the Red Chamber", just as Wang Fu's "Theory of Hidden Husbands and Xiannan" "Proverb 'A dog barks, a hundred dogs bark'". "Affection can be pitied" is a simple term for "its affection can be pitied", which means that the situation of others deserves sympathy and pity. The whole sentence literally translates to the pubar dogs, although they are loud and numerous, but their involuntary situation deserves sympathy and pity. Here is a metaphor for the "Dream of the Red Chamber" criticism meeting that although the people who attacked Yu Pingbo and Hu Shi were numerous, their situation was also difficult, and they deserved sympathy and pity.

The "taro" in the sentence "狙公給芋意何居" is recorded as "Mao" in some libraries, and the reason for this can be found in the "Explanation of The Interpretation of The Text" to find the entry "Mao Taro". "Sniper Gong Fu Taro" comes from the "Zhuangzi QiWu Theory" "狙公 Endowed With Akane: 'Toward three and twilight four.'" All the snipers were angry: "But then it is four and three is twilight." The original meaning of 'everyone is happy' was to warn people to pay attention to reality and prevent being deceived by rhetoric, which was later extended to be capricious and condemned those who spoke irresponsibly. "He Ju" interprets "why", indicating doubts, that is, what is the reason and reason. What is the real reason for the literal translation of the whole sentence as sniper gongfu taro? Here is a metaphor for the irresponsibility of the speakers at the criticism meeting of "Dream of the Red Chamber", reversing black and white, and not having or daring to express true academic views.

There are various interpretations of "Zong" in the sentence "Early Sect Xiaoya can talk about dreams", which here refers to academic or literary imitation. "Xiao Ya" is a part of the Book of Poetry, a collection of seventy-four chinese poems from the pre-Qin era, alluding to Yu Pingbo's early publication of new poems "Spring Water" and Hu Shi's "Attempt Collection". "Talking about dreams" means dreams, but here it is a metaphor for Yu Pingbo's "Dream of the Red Chamber" and Hu Shi's "Examination of the Dream of the Red Chamber". The whole sentence is literally translated as an early imitation of "Xiao Ya", and can also say dreams. Here is a metaphor for Yu Pingbo and Hu Shi's early literary and artistic poetry, and they were also able to study and publish works on "Dream of the Red Chamber".

There is no allusion in the sentence "Write a book without finding a famous mountain", and the whole sentence is directly translated as writing a book without finding a famous mountain with a collection of books. The metaphor is that Yu Pingbo and Hu Shi did not fully understand "Dream of the Red Chamber" and published works hastily, and as a result, some of the views in the study were infinitely magnified by some people, which attracted today's tidal wave of criticism.

Looking back at the thirty-year title in the "end of the sentence" refers to the deliberate addition of one or two sentences or a short paragraph at the end of the article, which is equivalent to the "afterword" of the current article. The full sentence literally translates as looking back at the afterword of thirty years ago. This implies that in March 1928, at the request of Yu Pingbo, the author wrote a "Yu Quyuan Mr. Sick Whispers" for Yu Quyuan (Yu Fan) 's "Sick Whispers" (collected in the "Hanliutang Collection").

The "Yihui" in the sentence "Yihui weeping dead fish" is a combination of Boyi and Yanagishita Hui, who are honest people in ancient times. "Dead fish" refers to dried fish or fish trapped in a rutted rut, which is a metaphor for being in a desperate situation. The whole sentence literally translates as the situation is similar to that of Bo Yi and Yanagi Xia Hui, crying and trapped in the fish of the rut. Here it is a metaphor for himself to criticize Yu Pingbo and Hu Shi's study of "Dream of the Red Chamber", implying that he wrote "Mr. Yu Quyuan's Illness in the Middle of the Whisper", which is estimated to be in a desperate situation, but not afraid of the heart.

Borrowing from the classics such as Xuanqu and Sniper Gongfu Taro, the poem gives birth to new classics such as the barking of the monkey and the weeping of dead fish, mainly describing the situation in the "Dream of the Red Chamber" Research and Criticism Movement", especially Yu Pingbo's statement of his views in the "Brief Theory of the Dream of the Red Chamber" in March 1954, indicating that the author's research and criticism of the "Dream of the Red Chamber" is uneven, implying that he wrote "Mr. Yu Quyuan's Illness in illness" thirty years ago, even if he is in a desperate situation, he is not afraid of Yi Huijie, in the Chinese mainland of 1954, which can be called bold.

The historical background of this poem is mainly "The Dream of the Red Chamber" Research Criticism Movement", and the new round of "Hu Shi Thought Criticism Movement" is secondary, corresponding to the poem "Xuanqu" metaphor Yu Pingbo is the mainstay, Hu Shi is secondary, especially the sentence "Looking back at the thirty years of the title is in" indicates that it is Yu Pingbo. In the critical movement at that time, Hu Shiyuan was only attacked by words and did not suffer from flesh and skin, while Yu Pingbo in the mainland was double attacked and was in an extremely difficult situation, the author was able to speak out for him, and his courage and courage were commendable, showing the precious integrity of traditional cultural people and intellectuals.

Appendix 1: Smell the song

Jiang'an Huai feasted on Hai Chengbo and sang the Liangzhou Leshi Song together.

The guests are kind and gentle, and the host should be harmonious.

(1954.) This poem borrows the folk songs of northern Shaanxi brought into the Hall of Daya in Yan'an, alluding to M's personal severe criticism of the social atmosphere after Liang Shuming, expressing the author's concern that there can only be praise and cannot be criticized, and there is only one voice in the country. ）

Appendix 2: Poor Woman

Qi Luo is highly priced and equal to pearls, and although Bai Die is inexpensive, he dares to violate it.

Fortunately, there is a grandmother flower cloth quilt, and the lamp is cut into the time clothes.

(Autumn 1954.) This poem borrows the traditional genre of the ancient "Poor Girl" to allude to the poverty and rupture of the culture at that time, showing that he has the talent to sing and does not say words against his heart, does not write words against his heart, and shows the noble integrity of Chinese culture's legacy. ）

(There are currently three interpretations of the poems: one is that Yu Yingshi interprets it as Chen Yinke's failure to write articles in support of the critical movement; the other is hu Wenhui's interpretation as a metaphor for the policy of "unified purchasing and marketing"; and the third is Xie Yong's interpretation of Lu Kanru and Feng Yuanjun's revision of the History of Chinese Poetry.) ）

Appendix 3: Read ChangLi's poems and think about Yandu flowers

Weak rose lying in the evening sorrow, there are sentient peony tears flowing.

The Eastern Emperor taught soft branches, and the boss Yu Kan traveled by candlelight.

(1954.) This poem is speculated to have been written after September 1954, when Song Qingling, Lin Boqu, Li Jishen, Zhang Lan, Shen Junru, Guo Moruo, Huang Yanpei, Chen Shutong, etc. became vice chairmen, and Zhang Dongsun was raised as a contradiction among the people and other historical events (Yandu Huashi), and the author borrowed the poetry of Qin Guan's "Spring Day" of the Song Dynasty and Han Yu's "Mountain Stone" of the Tang Dynasty to show that he was disgusted with the officialdom and pursued an independent and free life. ）

(Qin Guan's "Spring Day": "One night light thunder fell on the silk, and the light floated and the wabi was uneven.") There are sentient peonies with spring tears, and there is no power to rise to lie on the branches. The last four sentences of Han Yu's "Mountain Stone": "Life is so self-cola, it will be bound to people." Oh my party's second and third sons, and I will not return to my old age. ”）

(Statue of Yu Pingbo)

(All photos are downloaded online)