After all, Mr. is a poet: Guo Moruo and Gong Zizhen's three interpretations of "Jihai Miscellaneous Poems".

Guo Moruo. Data map

"Guo Moruo's Long Compilation of Chronology" (edited by Lin Ganquan and Cai Zhen, China Social Sciences Press, 2017) contains many unpublished poems by the composer, most of which are suitable for the occasion, but there are a few chapters that have special sustenance, especially the three poems of "Jihai Miscellaneous Poems" by Gong Zizhen. He poems were written on January 9, 1970, just as the writing of "Li Bai and Du Fu" was about to be completed.

Gong Zizhen's original works are three poems (listed in 129-131 out of all 315 poems), and the "Chronicles of the Long Edition" is not quoted in the order of the original works, but may be sung and arranged in order. Since the original manuscript has not been seen, it is impossible to determine. Let's try to interpret each of them.

First, a high sense of leisure

Gong Original:

Tao Qian resembles Wolonghao, and the ancient Xunyang pine chrysanthemum is high.             

The Moxin poet is actually bland, and the father of Liang is divided into two parts.

Guo Songhe:

After all, Mr. is a poet, and he has a high sense of leisure.       

praised the father and daughter and the baby bowed down together, and Zhengzhi was full of complaints.

Gong Zizhen's original work is well-known, and it is the most prestigious in "Reading Three Songs". Guo Moruo's first discussion of Tao Qian should be counted in 1943's "Inscription and Painting Notes", "There are poets in China, and they should be resigned to Tao", but at the same time criticized Tao Qian for "neighboring self-interest and selfishness". Directly agreeing that "Tao Qian resembles Wolonghao" is the inscription of "Zhuge Caolu" in Nanyang in the spring of 1964:

Zhuge Liang lived in seclusion in Longzhong, ploughing and eating himself, which was comparable to Tao Yuanming. However, Tao Ling was hidden for life, while Wu Hou saw himself with his merits, and he was made by the season. Gou Tao Ling's encounter with the wind and clouds may not be able to make the Peach Blossom Spring realize in the world, such as Wuhou lifelong seclusion devoted to poetry, not inferior to Tao Lingye.

Comparing Tao Yuanming with Zhuge Liang is naturally a great admiration for Wuhou Wencai, and it is also an extreme exaggeration of Tao Ling's martial arts.

Guo Moruo brought out Tao Qian's "Leisure Fu" in "Two Points of Blandness", and sighed that it was "high rhyme", which is really ingenious. Commentators and readers throughout the ages may not regard this fu as a specimen of Tao's plain style. Therefore, Si Shi Si loves this endowment, and there should be no sustenance. The author speculates that it is probably such a beautiful passage that makes Guo Moruo sigh:

I am willing to be the leader in the clothes, and the rest of the head of Chenghua. The sorrowful night is gone, and the autumn night is not in the sun. I am willing to wear it as a belt and tie the slender body. Sigh the strange air of warmth and coolness, or get rid of the old and take the new. I am willing to be in the hair, and brush the temples on the shoulders. The sorrowful beauty is repeatedly bathed, and it is fried from white water. I am willing to be Dai in my eyebrows, and I will look at it with leisure. The sorrowful fat powder is still fresh, or it may be destroyed in makeup. I am willing to sit in Dongguan and be weak in the third autumn. The generation of grief and Wenyin, Fang has been seeking for years. I am willing to perform in silk, and the attachment is enough to circumvent it. The sad deeds stopped in moderation, and the empty commission was abandoned in front of the bed.

Please compare Guo Moruo's "This Body" in 1948 when he said goodbye to Liqun:

This body is not mine, but belongs to you. Generously pay the people, Xie Jun allowed me to go. Give me a mirror in my arms, and there is a photo in the mirror. When I saw your face, I forgot my hardships. Give me a glass comb, and you will comb your hair every day. It was as if you were beside me, anointing me. Give me ivory claws to tickle my body. It seems that you are beside you, and you don't need to think about it. Give me an enamel hat, which you love. It seems that you are beside you, and the residual warmth is still there. Give me leather gloves, which you bought by hand. It was as if you were beside me, holding my hands tightly. Give me a sweater, which is hand-knitted by you. It seems that Jun is beside him, hugging each other and not letting go. Xie Jun cherishes his meaning, and I also know self-love. Not for the love of this body, but for the love of the people.

Guo Moruo gave this poem and book to the same people of the Creation Society and wrote as follows: "The right department sent the work of Liqun, which was completed in the boat in the north. Those who see it are quite chic, and in the rest they only express their chests, and the so-called contempt is as straightforward as an occasional ear. It is true that the rhetoric is "contemptible as an occasional word", but the idea does come from its origins.

Coincidentally, in the summer of this year, after completing "Li Bai and Du Fu", he wrote a set of "Notes on Reading Poems", and the second "East Wind Blows Blooming Begonias Open" examines the errors in the manuscript of the Dunhuang song "Yu Beauty", and explains the last sentence "Brush down the deep red stamen, and dirty slave clothes", that is, think of the poems given to Liqun that year:

Flowers are inserted into the king's chest, and pollen dyes the king's clothes. Although the flowers wither, the pollen will never leave.

This is one of the poems of the poet's group of poems in Guilin in November 1938 when he was sheltering from the Japanese air raids in Nanyue. The poet believes that his poems have a common vein with the "dirty slave clothes" in the lyrics of Dunhuang songs, so he evokes nostalgia for the emotional experience of the past.

In 1967 and 1968, Guo Moruo's two sons Guo Minying and Guo Shiying, who were not in time to be established, died abnormally one after another, and they were hit hard one after another, and Yu Liqun fell ill. In the past, Guo Moruo, who is over the age of old, cherishes family affection. This may be the psychological motivation for falling in love with "Leisure Fu".

In order to confirm the "one point of Sao", the world's well-known "Reading the Classic of Mountains and Seas" (13 songs), its nine "praise the father's birthday", and its ten "Jingwei title Weimu", that is, the most famous "Shan Hai Jing" in the "Classic of Mountains and Seas" and Jingwei reclamation. "The Long Compilation of Annals" has the question of "the mistake of 'baby' for 'wa'" under the sentence "praising the father and daughter and the baby worshiping together". This, of course, is unfounded. "The Classic of Mountains and Seas, the Classic of the North Sea" has a cloud: "The girl of Emperor Yan, the name is the female baby, the female baby swims in the East China Sea, drowns and does not return, so it is Jingwei." "Nuwa mends the sky, and it has nothing to do with this poem. The fourth article of "Reading Poems", "The Form of a Thousand Years Old", overturns Chen's theory, believing that "Xingtian Dance and Dry Qi" is a mistake of the Song Dynasty's extraneous branches, and later generations regard it as a conclusive conclusion, "It is a very strange public case". It is necessary to "form no thousand years old" in order to be opposed to "fierce ambition is always there" ("form" refers to the body, and "zhi" refers to the spirit). Guo Moruo argues that "Tao Yuanming is a person who respects God", so it is impossible to sing the praises of Xingtian.

It should be emphasized that the novelty of this song is not simply the insight of "two Liang Father and one Son", but the "high rhyme" of "Leisure Fu". Of course, this is "the Six Classics note me", pouring the blocks in the chest with other people's cups of wine.

Second, there are more sages and sages

Gong Original:

Tao Qianshi said that Jing Ke wanted to see the clouds and make a great song.

When the grudge is surging, there are not many heroes in the rivers and lakes.

Guo Songhe:

Meng Ke is tired of reading Jing Ke, and sings nine songs in three songs.       

Remember Mr. Zun Lu Suo, where are the more sages and heroes?

The so-called "Tao Qian's poems like to say Jing Ke", in fact, throughout Tao poems, the only person who sings Jing Ke is "Yong Jing Ke". This is the most "King Kong angry" work in all Tao poems. It is no wonder that Zhu Xi talked about Tao Qian's boldness, and used this poem as "the one who reveals his true appearance". Therefore, Gong Zuo sighed nostalgic for the past and the present, and sent his feelings to the "heroes of the rivers and lakes". Guo Moruo, a revolutionary with a very strong sense of merit, has no lack of spiritual correspondence for righteousness and chivalry. In the 1940s, living in Chongqing, Guo Moruo created six historical dramas one after another with the trend of volcanic eruptions, which on the whole were filled with the chivalrous spirit of the Warring States Period. Nie Zheng in "The Flower of Tangtang" is a chivalrous assassin, Xinlingjun and Hou Ying in "Tiger Fu" entrust the feelings of "the soldier dies for his confidant", and "Gao Gradually Departure", which is directly based on Jing Ke's assassination of King Qin, is the child of chivalrous culture. In the spring of 1948, Guo Moruo, who lived in Hong Kong, watched the Soviet film "Jianghu Heroes" and wrote this impression: "In this "Jianghu Heroes", I not only saw the visualization of the legendary hero Nasreqin, but also saw the symbols of the real revolutionary greats Lenin and Stalin. Lenin and Stalin are exactly the Nasreqin of today's Uzbek reality. ”

But what triggered Guo Moruo's singing and interest was obviously not the chivalry of "a gentleman dies as a confidant, and a sword is raised out of Yanjing".

"Meng Ke is tired of reading Jing Ke, three songs and nine songs", this is a description of Tao Qian, not the author's own situation. Tired of reading and chanting sour, it refers to Tao's diligent recitation of Confucian classics - "Mencius" is self-explanatory, and the Book of Songs (composed of Zhou, Lu, Shang and the fifteen national styles, large and small) is also a Confucian classic. Tao Qian's "Two Songs of the Ancient Fields in the First Spring of the Year of the Elderly" has the song of "the ancestor has a testament, and the road is not worried about poverty", so Guo Moruo "remembers Mr. Zun Lusuo", and the question of "which side of the sage is more" is more or less a micro-word for this "ancient and modern hermit poet". In this way, the author bases on "Li Bai and Du Fu" (discussed in the next section) and "Reading Poems: The Form is a Thousand Years Old". Guo Moruo interpreted "Reading the Classic of Mountains and Seas (Jingwei Title Weimu)", criticized "Tao Yuanming lacks the spirit of 'knowing what he can't do'", and quoted Han Yu's "Learning from Jinshi to Make Jingwei Title Stone Reclamation", thinking that "Han Yu's opinion on Jingwei's evaluation is higher than Tao Yuanming's". Linked to the mental state when writing "Li Bai and Du Fu", Guo Moruo discussed these historical figures who have a definite judgment in the world, not only with a sympathetic understanding of "the world or the body" (especially in Li Bai), but also a deliberate reversal of the mainstream of the academic world (especially in Du Fu). The whispers to Tao Qian are within the reach of Li Du's aftermath of Yuedan Li Du.

The Long Compilation of Guo Moruo's Annals, edited by Lin Ganquan and Cai Zhen, China Social Sciences Press, 2017

Thirty, fifty and a hundred steps

Gong Original:

Tao Qian's temperament is warm, and he is rewarded for his kindness.

I feel that Shaoling's poems are thin, but he knocks on the door of Fuer.

Guo Yuan's work:

Mr. Qinglian Wen is emotional, and he should repay the favor to the Tian family.       

Fifty and a hundred steps, return to the same court and knock on the Fuermen. (The mistake of "er" and "son".) )

This poem is directly related to "Li Bai and Du Fu". Tao Qian's "Begging Food" has a cloud: "I feel that my son is drifting and my mother is Hui, and I am ashamed that I am not Han Cai." The title knows how to thank him, and he will repay each other. Therefore, Gong Shiyun "repaid him for a meal". Guo Moruo gave birth to the association and comparison of "Mr. Qinglian is emotional, and he should repay the kindness to the Tian family". In the section "Li Bai's Interaction with Du Fu and Li Du in Poetry", Guo Moruo compares Li Du's character and poetry, and believes that Li Bai is "more commoner". Among the works cited, there is a poem "Xun Yuan's Family under the Five Pinesan Mountain": "I live in the five Panasonic, lonely and have nothing to enjoy." The Tian family is bitter in autumn, and the neighbor's daughter is cold at night. Kneel into the carved rice, the moon is bright and plain plate. It's embarrassing to be a mother, and I can't eat three thanks. Guo Moruo praised Li Bai for "knowing the difficulties of the crops", "Therefore, he was treated at the farmer's house, and he thanked him very reverently, thanked him three times, and could not move the basket." This is the origin of "should say to the Tian family to repay the gratitude". Tao Qian begging for food, who is the object, the poem does not make it clear, but it says, "Go to Sri and knock on the door with clumsy words." The master understands the remainder, and the bequest is not in vain." "Yingxiang" Yunyun, it seems that Guo Moruo seems to have a complaint about Tao Qian's "retribution". This kind of emotion is fully expressed in the two sentences of "Fifty He Shu and One Hundred Steps, Returning to the Dynasty and Knocking on Fuermen". From Gong Shi's "quite felt that Shaoling poems kiss thin" was brought to the criticism of Du Fu. Du Fu begged for food and poems, the most famous is probably the following sentences in "Twenty-two Rhymes for Wei Zuo Chengzhang": "Riding a donkey for 30 years, traveling and eating in Beijing Huachun." Towards the door of the rich children, with the fat horse dust at dusk. The remnants of the cup and the cold burn, everywhere lurking sorrow. At the end, there is also a gratitude expression of "often planning to report a meal". According to the literal interpretation, it is also begging, and criticizing Du Fu's "poetic kiss" is "fifty or a hundred steps", which is indeed incomprehensible. Gai Taoqian's "Begging Food" had the meaning of "knocking on the Fuermen", and Du Fu had "poetry kisses" to Tao Qian. How to interpret it, we should seek the answer from "Li Bai and Du Fu".

In the section "Li Bai and Du Fu and Du Fu's Concept of Gate Valve", Guo Moruo believes that Du Fu "has a more stubborn concept of door valve than Li Bai." This is very explicit in his poetry". After listing many poems and analyzing them, Guo Moruo unexpectedly proposed that "it is worth noting that Du Fu has a slight opinion about Tao Yuanming". So he cited the third part of "Five Songs of Repatriation": "Tao sneaks away from vulgar people, and may not be able to reach the Tao." Looking at his poetry collections, I also hate withering. Dasheng is not enough, and tacit knowledge is not early. There are sons and fools, how to be embraced. Through the comparison of Du Fu and Tao Yuanming's concept of gate valves, Guo Moruo agreed that "Tao Yuanming's self-proclaimed descendants of Emperor Yao are out of counterfeiting, which also exposes Tao Yuanming's vulgar side." However, since Du Fu did not admit that he was of the same clan as Tao, the conclusion was drawn: "This can prove from the opposite side how tenacious Du Fu's concept of door valve is, and it also proves that Du Fu's vulgarity is far above Tao Yuanming." Guo Moruo's logic is: Tao certainly has a vulgar side, but you Du Fu is even more vulgar, what qualifications do you have to "calmly ridicule Tao Yuanming"?

From this point of view, in terms of begging for food and gratitude, Gong Zizhen praised "Tao Qian's temperament is warm", and criticized Du Fu's "poetry kiss" of "Tao Qian's avoidance of vulgarity may not be able to reach the Tao". Guo Moruo caused a comparison between Li Bai and Tao Yuanming, praising "Qinglian Wen"; and even used the topic to play, and caused Du Tao to compare with "Shaoling poems", ridiculing that "Du Fu's vulgarity is far above Tao Yuanming". This is not "50 steps and 100 steps", but 100 steps and 50 steps.

Regarding Li Du's vulgarity, Guo Moruo quoted Engels's famous words: "Goethe is sometimes very great, sometimes extremely small, sometimes rebellious, ridiculous, and despised genius of the world, and sometimes he is a cautious, contented, and narrow-minded philistine." It was also at the same time as writing "Li Bai and Du Fu" that Guo Moruo suffered great pain, but he had self-reflection, and in a letter to Guo Shiying's former friends, he frankly admitted that he "became a person whose words and deeds were inconsistent all his life". These three harmonic commentaries on Tao Yuanming can give the world a glimpse of the state of mind of this poet who was once encouraged by Goethe in his later years.

Feng Xigang

Editor-in-charge: Liu Xiaolei