Sun Li wrote an article before his death, talking about the cultural heritage of Hebei, and he had a sense of pride in his heart. Not to mention the Wei and Jin Dynasties, only in the Ming and Qing Dynasties, there were many crazy people, and that relic can still be seen in Heshuo. The history of Hebei has always had a majestic atmosphere, the formation of that tradition, supported by countless unknown literati, and now that people think about it, people are full of emotions. There are many genres in the meantime, and in the Heshuo area alone, there is the Heshuo poetry school, which is a group of literati in Hebei in the late Ming and early Qing dynasties, which is very popular with the land of Yanzhao. This group of poets began to appear in the late Ming Dynasty and early Qing Dynasty. My attention to the writers of this genre began with reading the "Congshan Poetry Collection" published a few years ago, which was completely devoid of the pedantic atmosphere of the old Confucianism, and the strong wind between Yan and Zhao was blowing, which was the flow of true and pure qi. Later, I discussed with my friends the way such literati existed, and found that it was a crack in the authoritarian culture, which had a soothing meaning of understanding the mandate of heaven. Therefore, I felt that the remnants behind Sun Li's local experience seemed to be related to the ancient wind.
Hebei is close to the imperial capital, and it is a tradition for literati to be close to officials, but there is no shortage of people who resist the customs. This point was addressed when the predecessors spoke of the Heshuo school of poetry. Not long ago, I watched Li Shiqi's new work "Shen Hanguang and the Heshuo Poetry School" and strengthened my impression. After reading, I unraveled some of the fog, carefully displayed the internal relationship of the Heshuo poetry school, and emerged a fragment of history, which finally had a holistic view of the folk literati at the time of the Ming and Qing dynasties in the land of Yanzhao.
With the fall of the Ming Dynasty, the scholar-doctor stream faced a difficult choice. Traditional Confucian thought demanded loyalty to the king, and the literati's belief was suddenly shattered by reality, and it was difficult to accept the ruler of a foreign race from the heart. However, many literati could not withstand the attack of violence and power and became vassals. Only some people with integrity are not moved by the atmosphere and maintain the dignity of the ancients. Gu Yanwu and Fu Shan both adhered to the moral bottom line, refused to join the army, and painstakingly wrote books among the people. At that time, many of the people who echoed them were also scattered in the folk, and the poets between Shen Hanguang and Heshuo belonged to this list. Sun Qifeng, Zhang Jingxin, Zhang Gai, Yin Yue, Liu Fengyuan, Liu You, Zhao Zhan, and Lu Zenong did not lose their Confucian feelings in that environment, and the arrogance in between was not found by laymen. When we look at the interactions of these people depicted by Li Shiqi, the attraction to each other is evidenced by poetry. At that time, this small group consciously alienated from mainstream society, comforted each other in communication, and exploded a gap in the night like electric light, and the dull night finally had a bright color.
Here, Shen Hanguang's existence is profound, and in Li Shiqi's words, he has almost become a representative figure in Hebei. Regarding Shen Hanguang, literary history does not seem to talk much about him, and there are not many people who know about him. This is a man of scientific temperament, with high academic and poetic taste. Xu Shichang's "Biography of the Great Qing Dynasty", which mentions his lineage, after the death of Yun Ming, refused to enter the world, "returning to the country, doing things to the brothers, footprints in the city." And Wei Yijie's "Collection of Jianjitang Anthology" Yun:
Sex does not like to interpret the old, to understand the piano, Ding Yi calligraphy and painting, allegory and no attention also. Friends are not indiscriminate, and people who share the same voice in life are not a few people.
This can roughly see his characteristics, the experience is mediocre, and it is not smelly. In order to resist Li Zicheng's attack on Beijing, his father sank himself into Ren. His choice of martyrdom for the Ming Dynasty strongly affected Shen Hanguang. Since then, the state of mind of the remnants has been lingering, which is reflected in his words and deeds in his poetry and dating. When I read his writings, I felt that the writing was quite good, that although I was a Confucian, I had no Confucian voice; the mind was quiet and pure. There are many meritorious Confucians in the world who cannot pass the threshold of fame and fortune, and there are so many people who are profiteers. Shen Hanguang, on the other hand, has no false nature in his heart, and has many strange sounds in the poems, and there are strange thoughts coming from reading, which is the flow of true colors. After the death of the Ming Dynasty, most of the people who had the style of Du Fu retreated to the mountains and forests and did not associate with the customs. On the one hand, they have the wind of slaughter, on the other hand, they are mixed with Tao Qian's ambitions, and the two kinds of morale are rolling, and there is no lack of arrogance after entanglement. His poems, with a gentle allusion in their melancholy, are unpretentious, which shows his integrity as a human being. He loves to read the words of boldness. "Yi XiuJu Poetry Quotation" is just a few words, and its aesthetic interest and taste of life are all in the text:
In the early summer of The Battle of Jinyang. Passing through Baixiang, discerning if I have left a poem, I have not read it yet. He has ascended to the top of the Taihang, the sky is windy, the clouds are turbulent, the strange birds are peeping, the pine is covered, and the floating is a posthumous thought. Hate nothing and the traveler appreciate its strangeness: it is urgent to discern and read it. The majestic qi, the enemy of it, is no less than the two of them sitting together, creeping and swimming together.
Only those with a broad mind have this kind of writing, which clearly has the rhyme of the six dynasties and the simple atmosphere that blends between heaven and earth, and it is vividly remembered here. Such articles are not welcome works, but eruptions after inner stacking, swirling between heaven and earth, giving us the pleasure of wandering, and the beauty of personality also penetrates into it. Let's compare—the words he and Ruan And Ji Kang are related to qi rhyme. Historians of the past rarely record this. Maybe the thought is rebellious, or maybe the secret is too deep. In the mainstream literati, his voice was weak.
Shen Hanguang admired the aura of Haoran and was also devoted to the text of sorrow and indignation. But the words are gentle and often appear, and the appearance of Dun Hou is immediately known at a glance. His aesthetic concept is slightly different from that of ordinary madmen, who are "clean and not hurt". This view is probably too much adherence to Confucianism. Worried and polite, or too honest. At that time, people liked to talk about Gu Yanwu and Fu Shan, but they rarely talked about him, which may have something to do with this. There were many such literati in ancient times, which can be said to be a small tradition in the big Confucian tradition. This topic should be discussed in depth, and many spiritual topics can be found. The differentiation and flux of Confucianism made the characteristics of the literati also diverse.
The pure Confucianism of the world may have this characteristic, that is, self-control, and the so-called non-excessive person is exactly. Shen Hanguang's choice of behavior is controlled, and he adheres to the bottom line of the scholar. His remarks have a strong moral connotation. For example, for the rich to consume materials to raise artists, there are many micro-words. Those who speak harshly in their dealings are also disgusted by them. He repeatedly criticized the delusional, believing that it was a deformed existence. The fundamental point behind these remarks is the flogging of a culture of delusion. In his view, the more pseudo-humans appear, the more unfortunate the culture becomes. I like his satirical words very much, they are clean, simple, and have a sharp beauty. He stabbed the world, single)) straight in, and the calmness of the heart was clear at a glance. He was introspective and ascetic, and the Confucian teachings were somewhat religious in him. There is his pedantic here, but the kind of way he is not afraid of vulgarity, and the way he looks around, flowing between the words of the spirit of sex, is really heartwarming.
The soldiers of the Ming and Qing dynasties, those who were caught in the filth, could not themselves, but were undoubtedly prisoners of evil customs. Checking the relevant information, I knew that Shen Hanguang had deep friendships with Gu Yanwu, Fu Shan, and Chen Zilong, and had moral integrity in his heart. Shen Hanguang has always advocated integrity and has a deep respect for Fu Shan and others. He himself retreated from the mountains and forests, not to be content with "stillness", but to maintain his inner "respect" for the pure spirit. This is his master's own way. In his view, Gu Yanwu and Fu Shan both have a bit of a tradition of "respect". Liu Mengxi, a modern person, once wrote an article saying that "respect" is the basic spirit of Chinese culture, which is really the word of enlightenment. There was a group of people around the Shen clan who were far away from the field of Rongli, and when writing the preface to the poetry collection of his friend Yin Yue, he said: "Zongshan's provenance is like the Jing Festival, the strong age abandons the official, the mao han valley, and the contacts are all mountain trees and wild guests and Shen Ming's first and second sons." The first time he met him, he felt that "his hair is like a sword, and his breath is really moving." Man has no delusional state, and he is able to do so, and he has a deep taste for this in his reading and reading. And the goodness of its text, in addition to admiration, we can only admire.
Chinese readers generally cannot handle the relationship between words and deeds. Aesthetically, rigidity and softness are difficult to combine. And Shen Hanguang has both a majestic and lofty atmosphere, but also a gentle and generous attitude, and does not lose the "respect" intention of loving people and loving the world between advance and retreat, which is really a spectacle of Chinese soldiers. When I read his poems, I felt that the character of the ancients was not easy for people to see today. In the era of red dust, the only way to keep innocence and flutter with immortality is the radiation of spiritual candlelight, and posterity respects it and cannot be like it, but can only admit that our Confucian style is sometimes not so pure.
The above ideas also run through Shen Hanguang's study of poetry, which can be described as a family of its own, and the views are profound. He has a book about Du Fu, "Speaking of Du", which only has fragments of the world, and most of them are scattered. From those few words, there are often amazing words, and the clear distinction between words and the difference between the good and the bad are clear. In the source of the examination mirror, there is no lack of enlightenment, and its appreciation is no less than that of Qian Muzhai and Chen Zilong, or it can be said that it is still above them. Dare to criticize the broad thinking of the contemporaries, the spirit has the charm of classical literature, the rhyme of thickness and agility are all there, and the loose atmosphere of the reader is looping back and forth between words.
Watching the "Collected Poems of Congshan Mountain", I feel that the author's knowledge is extraordinary. The depth of reading and the depth of reading people can be said to be rare in that era. There is a fixed yardstick for judging the Confucianism of ancient and modern times, and the sincerity of knowing people can indeed be said to be first-class. He criticized the literati in a harsh tone, tired of the old habits of human nature, and felt that it was a betrayal of Confucius's thought. And when looking at poetry, sometimes there is a little cleanliness, and I don't let go of the pickiness of flaws. Even if he read Du Fu's poems, he dared to tell the truth and criticize the dull and clumsy atmosphere in his writing. Some of the conversation, even harshness, Confucian gentleness and elegance disappeared between the critical texts. Because in his eyes, poets are not all saints, and when they use their pens, they inevitably deviate, the power of the world is large and their own strength is very small, and it is possible to slide astray at any time. This critical vision continues a certain idea of Mencius, frank and with a mighty atmosphere. The true meaning of Confucianism, Shen Hanguang's understanding, is with his own deep experience.
Li Shiqi wrote "Shen Hanguang and the Heshuo Poetry School", taking Shen Hanguang as the main object, participating in the deeds of many poets, and writing about each other's interaction, which is really a rare landscape. These people are either crazy, or narrow, or beggars. They are far from the mainstream ideology, living in seclusion in the Taihang Mountains, living a simple life. Many poems are not the soft and beautiful state of the Jiangnan literati in style, and the thickness of the northern country overflows between the words. For example, Shen Hanguang's poems, ancient customs, have a Tang feeling, plus a little taste of the Six Dynasties. It is somewhat different from the habitual expression of ming poets. Reading his works, they are not random works of entertainment, the texture of the poems has the hidden pain and bitterness of the soul, and there are many witty sentences. Shen Hanguang's works have a sense of loneliness, and the distance from the world is obvious. There are many strange aspects of his sentences, unlike his articles, which still have some traces of authentic Confucianism. When I look at his prose, I can't help but turn around in Confucian morality, while poetry has a cheerful expression, a solemn and melancholy atmosphere, which can be called smooth and super-modern.
In his poems, the thought of benevolence, the idea of respecting the people, and the idea of compassion for all sentient beings are all there, and he writes about hunger, talks about visiting friends, and talks about sorrow, which has a bit of the flavor of Du shi. The work is not a hilarious expression, but a chew in loneliness, in his view, since the end of the Ming Dynasty, the world style has been broken, and the poetry is inevitably eroded by most of it. Therefore, it is difficult to find resources in the ancients, and retro tones can be found on the surface. The words he chanted and gave to people were true and deep, like the vigorous traces of a sharp blade on a stone, and there was a hard feeling, but the diseaseless groan of the scholar was not there. In his mind, the Han and Tang Dynasties have a big weather, and the "Gaoshi" in the world is also more beautiful. The works have both nostalgia for Tao Qian's "practicing qi like Youlan" and praise for the Tang people's "haoran walking and singing". He talked many times in his words about his tiredness of fame and fame, never associating with the evil world, calmly like the autumn sun, and the scorching brilliance flashed in the wilderness. There is a sentence in the "Reward Wei Du Zhi Shi Sheng" that "the ancient road is decaying, and the official dignity has no fixed friend", which refers to the bad wind of the world. And "listening to wild words in the ear, not feeling the ugliness of the cloth" is to praise the flowing attitude of the world. There is a sense of strength in his self-examination, and the loneliness in his heart can be seen at a glance. There is a sentence in "Early Spring": "Drunken to the sand garden lying short grass, rich and noble who empty floating name." "Is it with the traces of Bao Zhao and Li Bai?" Sometimes you can also feel the difficulty of dealing with the world, he sighed in "Illness": "The Mid-Autumn Festival in the illness has passed, and the Chongyang has come for nine days." In the poor city, there are no chrysanthemums blooming. A cold and silent state of mind drifted in. Here, there is a suffering situation for readers, and expectations are not absent. The desolate ancient meaning of the poem can be seen at any time. "Boating on Ming Lake": "The north wind is cold and autumn, and the green curtain by the water is asking for wine." Drunken singing shocked both sides of the strait, not knowing that the detainees were poor. When we read his poems, we can see that the seclusion and refusal to enter the army at that time were not easy, and the inner suffering revealed was not concealed in front of the reader.
These sentences are very grand and intense, but they do not have the depression of the Buddhist family and the immortality of the Taoists. Everything is in the torrent of the human world, there is dissatisfaction, there is condemnation, there is also questioning, and the spirit is rushing. The poem "Yu Rang Bridge" is a typical feeling of home and country, and Confucian love and worry flow between the words: "The heroic spirit of the guoshi is not endless, and Shiqiao hates gu Xingzhou." Thousand years of strong Zhao ju rotten grass, water to the bridge side of the throat does not flow. "Here is the melancholy beauty of Du Fu, as well as the self-purification and self-love of Confucius's disciples. Reading it also reminds people of Fu Shan's poems, all of which have an awe-inspiring atmosphere, not twisted narcissism, but creeping on the ground, sticking to the dirt, but letting go of thoughts. From the late Ming Dynasty to the beginning of the Qing Dynasty, in the chaotic world, there are still pure Confucian voices played in the folk, which is indeed rare.
Several poets who are close to Shen Hanguang's spirit have complex connections in thought and poetry. This loose community has a strange spiritual light in the world of decay. They use poetry to express the Confucian dream, forming a contrast between the caution of people and the boldness of words. Zhang Gai's frankness, Yin Yue's chivalrous courage, Liu Fengyuan's openness, and Liu You's eternity are all permeated with strange qi. Li Shiqi wrote about their interactions, and some of the fragments were very vivid. When escaping from war and escaping the world, in addition to the joy of poetry, the only thing to do is to visit famous mountains or spend time with friends. When Shen Hanguang came into contact with his friends, they exchanged questions and answers with each other and exchanged poems, and they could see the most simple side of the literati in the old days. These people either pour ink on the bodies of the remnants or find ways to save the world in their interactions with the Qing officials. Doing interesting things in the boring years brings extraordinary light to that era. Their poems are similar in style, and what they have in common is that they all have a rebellious spirit, the words have no soft tone, and the strong temperament is very strong. The limited poetry I have only been exposed to is close to the ancient style in terms of taste, and the narcissism of the Literati of the Ming Dynasty is rare. Looking at their Confucian ideas, they are not the remnants of the servile Confucianism, but the spirit in the poems has the remnants of rationality. That is, to take spiritual integrity as refuge, not to follow the popular language, and to have a distance from power. In their view, Confucius's thought is not the dogma of Confucianism under the control of power, but the awe-inspiring righteousness, which is the supreme principle for the liberation of human nature. They have hung the concept of cautious pursuit of the long distance high above the spirit, and they have always had a kind of concentration. Those thoughts about personality and backbone have metaphysical meanings in them. Ma Yifu said that the spirit of Confucianism has a kind of inner clarity, which is what it means. Confucianism is not all dependent on the powerful and powerful, but self-reliant and self-evident, which was ignored by the "May Fourth" generation when they brought down the Confucius family shop. Looking at the scene of moral corruption in the academic circles and shilin now, the value of Shen Hanguang does not make people think about it and think about it.
I myself know very little about the history of scholars and doctors in the Ming and Qing dynasties, and I occasionally pay attention to them, and I am attracted by the poetry and literature of those strange people. After seeing many spiritual texts, I occasionally read the words of the Heshuo Poetry School, and I couldn't help but feel admiration. Imagining those people and things from between the words, it can also be said that the flow of heroic and heroic spirit injects fresh air into the boring literati space. Because the social atmosphere is too bad, and the mountains and rivers change owners, it stimulates the dream of the family country of the scholar-doctor stream. However, in the process of selection, it is difficult to be consistent in heart and mouth, and the phenomenon of inconsistency between words and deeds is a common thing in the body of a scholar. In such an environment, Shen Hanguang did not wander in his old age, the blind spots in his thinking still existed, and it was actually quite difficult for the scholar to really detach. We now look back at the people and events of three hundred years ago and perceive many problems in the master-slave change in the ancient people's concept of home country, but in the limited time and space, the adherence to the moral bottom line in their choices is indeed a glimmer of light in the dark world.
Shen Hanguang and his friends are not big figures, but their existence in the folk has maintained the green of cultural ecology, which is also the backbone of Lu Xun's nation. The preservation of Chinese culture often relies on such sages, who are the foundation of spiritual immortality. In the era of rivers and rivers, the era of the decline of the world, the personality remains clean, there are not many paths to choose from, and every road to go on is also a taste of pain. One is to return to the folk and be with the grass and tree farmers, and you can get real qi; the first is to obtain resources from Confucian classics, and the spirit is fixed on one statue without being biased. In those days, there was only one thing that a scholar could do. In the many years after Shen Hanguang's group of poets, such a spirit of readers gradually became rare. Later, the ugly Confucian words were rampant, the personality was obscene, and the true intention of the world was no longer true. The interruption of this tradition was an important cultural factor in the decline of the empire. Now that we think of people like Shen Hanguang, we can only sigh and sigh!