Original text/ Dong Yuanben (Suqian, Jiangsu)
(Photo: Qinhuai family)
Green grass, a spring of sorrow, only in The Flower Creek. The northern incense soul, the southern dynasty blue blood, the total fu crane crying.
Recruiting people to ride in the west of Liaoning, a total of who stayed, yellow camels and white hair. Towards the wind, twilight back to the ice cellar, can read the deep boudoir.
—— (Qing) Qu Dajun,"Liu Ziqing"
Qu Dajun (1630-1696) was a famous scholar and anti-Qing scholar in the late Ming and early Qing dynasties, and naturally a progressive literati of integrity and justice, but even so, this poem written in the fifth month of the lunar calendar in the fifteenth year of Shunzhi (1658) could not hide the major flaws in his thinking, that is, the narrow view of history and the pedantic view of love.
(Photo: Statue of Zheng Chenggong)
After the Qing army entered the customs, the Remnant Ming government fled south one after another, and fled to Zhaoqing, Guangdong at the end of the third year of Qing Shunzhi (1646), and soon continued to flee to Guangxi, and later to Yunnan. Although most of the territory of the Ming Dynasty had fallen, at this time there were still a small number of Ming dynasty armed forces represented by Zheng Chenggong who were still resisting the Qing army in the south. By the eleventh year of Shunzhi (1654), the Remnant Ming regime only had some sporadic anti-Qing strongholds on the border of Yunnan, Liangguang and Fujian, and the vast majority of Ming officials had been liquidated, the central and local regimes of the Qing Dynasty had long been effectively operated, and the Manchu Qing replaced Zhu Ming.
In the eleventh year of Shunzhi, Zheng Chenggong once again formulated a plan for the Northern Expedition. Thirteen years later (1656), Qu Dajun traveled north to Jinling, Qilu, Beijing, Tianjin, Shanxi, Guanzhong and other places to investigate the mountain and river terrain data needed for Zheng Chenggong's advance and spy on the Intelligence of the Qing Army. Qu Dajun was full of ambition along the way, full of confidence in Zheng's successful recovery of Daming's homeland. Considering that Zheng needed to pursue the Manchu forces fleeing north to western Liaoning after Zheng successfully occupied Beijing, in May of the fifteenth year of Shunzhi, Qu Dajun went to western Liaoning to investigate the terrain of mountains and rivers, and wrote the poem "Liu Ziqing" before leaving. Qu Dajun liked to live a life of yeyou in the process of traveling to the north, so he met many confidants with red faces. Now, thinking that Zheng Jiajun is about to come north to re-fix the rivers and mountains, the writer can't hold back the excitement of his career success, and at the same time there is a hint of sadness about parting with his confidant before going to Liaoxi, and Liaoxi is the location of the old nest of the Manchus, Qu Dajun knows that this is more fierce and less auspicious, but he is not afraid, and this song shows such complex feelings. Thinking that Zheng Jiajun could not only recover his homeland, but also directly fill the old nest of people and restore the long-lost glory of the Han and Tang Dynasties, the poet was willing to give up his happy life with the confidants of the red face in the Central Plains, and even willing to sacrifice his life for Zheng Jiajun, so he issued an oath of "the incense soul of the north, the blue blood of the southern dynasty, and the total payment of the crane cry".
In fact, in the years before this, the Southern Ming regime, while jointly resisting the Qing Dynasty with the remnants of Li Zicheng and Zhang Xianzhong's rebel army, tried to eliminate the remnants of the rebel army, and the small imperial court was still fighting with each other and fighting for power and profit, Zheng Chenggong and other anti-Qing Southern Ming forces also deviated from Germany, and the agricultural, handicraft, commercial, and cultural activities of the Qing Dynasty, including keju, had been normalized, and the Eight Banners Army was stationed in prominent states and counties throughout the country. More importantly, Wang Fuzhi and other Ming Dynasty relict scholars and masters began to reflect on the historical lessons of the ming dynasty's demise, and they gradually realized that the root cause of the ming dynasty's own corruption and rule, the people's abandonment of it, so the restoration of the Ming Dynasty was not only impossible to achieve, but also unnecessary, and at that time, the Manchu nobles also had the desire to co-opt the Han scholars and doctors to implement a relatively enlightened ruling system, how to realize the Manchu and Han family relatives, rebuild and carry forward the Confucian tradition, and became the mainstream ideological pursuit of the Ming Dynasty's relics and scholars. Qu Dajun could not see clearly the decay of the Ming Dynasty, nor could he see the new direction of historical development, and his political understanding was obviously very narrow.
(Photo: Stills of "Qin Huai Bayan")
As for Qu Dajun's decadent concept of love, we can understand it through the four words of "yellow camel and white hair".
At the end of the Ming Dynasty and the beginning of the Qing Dynasty, there were a large number of wind and dust women engaged in anti-Qing and restoration activities, and the famous "Qin Huai Bayan" was a typical representative. In order to dispel their troubles of national subjugation, and some of them also want to cover up their identity as anti-Qing and restoration, they often associate with these dusty women, and sometimes through them to connect with revolutionary volunteers. In the common pursuit, most of these dusty women will love or commit themselves to the relict scholars, such as Dong Xiaowan to take the risk of opening up the frontier, Liu Ru to Chen Zilong and Qian Qianyi, Li Xiangjun to Hou Fangyu, and so on. How much truth these widows and doctors have for the dusty woman, the legendary novels are described in some touching plots, in fact, I don't believe it. Qu Dajun's view of love revealed in this poem "Liu Ziqing" is proof of this.
The lyricist uses the phrase "yellow camel white" in the lower part of this poem to express the love of men and women, but its style is extremely low. "Yellow Camel White" includes two allusions to "Yellow Camel" and "White Camel". "Yellow camels" are wild animals, they always live in groups, and each group of yellow camels can only have one male camel,—— a relatively strong male camel through a duel, fight or kill other male camels, it can exist as the only male camel in the yellow camel group, so the writer believes that this male camel mating with all female camels will produce the glory of the victor. When the sheep is mating, the ram is on top and the ewe is on the bottom, and the "white sheep" refers to the ewe that is in the lower position when mating. Qu Dajun used the "yellow camel" to compare himself who had made meritorious contributions to the restoration of the Ming Dynasty, and used the "white camel" to compare the red-faced confidants he was dating and who were about to break up. The meaning of the word is that the writer gives up the red face confidants in the Central Plains, goes to Liaoxi to do a big cause, and then misses these red face confidants after the career is successful. The lyricist's intention to give up the small self in order to enlarge the self is right, but unfortunately he uses the four words "yellow camel and white hair" to regard the love between himself and those red-faced confidants as animal instincts, and defiles the sentient and righteous women who are also eager to recover their homeland. This is actually the "reasonable" ideology under the increasingly decadent feudal ritual education of the Ming Dynasty, and not only Qu Dajun has this consciousness, but it should be common for the Ming Dynasty relics and doctors who have been infiltrated by ritual thought.
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(Editor: Dong Yao)