The uppermost reaches of the blue ink is the Wei River
——A Brief Introduction to the Literature of the Xianyang Dynasty
Nam Sang Bridge
"Jiangnan Xiucai Shandong General, Shaanxi People King row two lines", the second sentence refers to the two groups of ancient imperial tombs mainly located in Xianyang territory, which are linearly arranged from east to west. One group is the Han Dynasty imperial tomb group centered on the WulingYuan on the Weibei Plateau, and the other group is the Tang Dynasty imperial tomb group with Zhaoling and Qianling as the leaders on the southern edge of the Loess Plateau. They not only witnessed the great splendor of the Han and Tang dynasties one or two thousand years ago, but also became an inexhaustible source of inspiration for the literary artists of that time and later generations to reflect social life and express magnificent feelings.
Opening the chinese nation's literary history scrolls with verifiable texts and lasting more than 3,000 years, the first thing that appears in front of you is the "Book of Poetry". As The first collection of poetry in China, there are 5 poems in its "Daya" that are called the ancient epics of our great nation, of which the historical events described in the three articles of "Shengmin", "Gong Liu" and "Xuan" all occurred in the area of Wugong, Xunyi and Binxian in present-day Xianyang. Most of the "Qin Feng" in the "National Wind" and the folk songs of "Feng Feng" were produced in the territory of present-day Xianyang. Zhu Xi and other scholars believe that the three articles in "July", "Dongshan" and "Owl" in "Feng Feng" were written by Zhou Gong, so Zhou Gong was the first poet with a name in the history of Chinese literature. Yu Guangzhong said that "the upstream of the blue ink is the Miluo River", which should be corrected as "the uppermost part of the blue ink is the Wei River".
Network illustration
Zhu Xi said: "Yongzhou has thick soil and deep water, and its people are thick and straight, and there is no Habit of Zheng Wei's arrogance and depravity. If they are well guided, they are easy to rise up and be benevolent and righteous; if they are driven by fierceness, their strong perseverance and courage are also enough to strengthen the army and the peasants to become rich and strong. The Jin Dynasty poet Yuan Hao asked: "Guanzhong's terroir is complete, the hostages are straight and righteous, the wind is habitual, the songs are generous, and there is the old Qin and Han dynasties." Wang Yangming, a great philosopher of the Ming Dynasty, said: "Guanzhong has been a great hero since ancient times, and his loyalty and perseverance are the qualities of his faithfulness and perseverance, the heroic instrument of Mingda, and the people of the four directions. Contemporary scholar Li Ao said: "Shaanxi is located inland, the folk customs are simple, especially north of the Qinling Mountains, and the simplicity of the people has a lot of rustic atmosphere." Although the soil is thick and upright, the so-called 'pure wind of Qiqi, the enemy of the Qin people, still exists today' refers to this. "Thick and straight", "strong and resolute", "straight and righteous", "loyal and resolute", are the fundamental characteristics of Shaanxi people and Xianyang people. These characteristics are also reflected in the literary works of Xianyang throughout the ages.
Looking at the literary history of more than 3,000 years, Xianyang literature has 4 peaks.
The first peak was the Era of the Book of Verses.
As mentioned earlier, many of the works in the Book of Poetry can be concluded to have originated in present-day Xianyang, and the "Feng Feng" and "Qin Feng" in the "National Wind" are concentrated displays of these works. The desolation and tragedy of "July" and "Dongshan" in "Feng Feng", the bravery and fierceness of "Broken Axe", the sadness and sorrow of "Owl Owl", and the fighting spirit of "Qin Feng Xiao rong" are high, thousands of years down, reading it is still low and wandering, swinging back to the intestines. "Qin Feng Qing Ye" can be described as the pressed volume of the Book of Poetry.
Its first chapter reads:
Crabapples are green, and white dew is frost. The so-called Iraqis are on the water side. Traceability from it, the road is obstructed and long. From there, it is like being in the middle of the water.
The poignant and unattainable mood can be described as the indiscriminate pursuit of obscure poetry. The imagery of the "Qiushui Yiren" has become a metaphor or symbol, and it is still active in literature, film and television works.
The second peak was the Han Dynasty.
Xiang Yu's "Song of the Fall" and Liu Bang's "Song of the Great Wind" with their great power to swallow the universe and shake the mountains and rivers have crossed the time and space tunnel of more than 2,000 years and more than 2,000 miles, and the rest of the sounds are still swirling on the Xianyang Plain. Biao Bing's "Two Simas of the Western Han Dynasty" and a generation of great Confucians, Dong Zhongshu, both moved to Maoling County in present-day Xingping. The three masters gathered in one place, wencheng three-body, and their majestic texts were like a powerful spotlight, shining directly on the literary and historical heavenly dome of China for more than two thousand years. Sima Qian's "Records of History" still dominates the pinnacle of historical works and essays, and the character images of tigers and tigers created by "Xiang Yu Benji" and "The Biography of General Li" have been passed down to the pen, to the mouth, and to the stage screen for thousands of years. He said in the Book of Baoren'an and the Preface to the History of Taishi Gong:
Gai Xibo performed "Zhou Yi"; Zhongnier wrote "Spring and Autumn"; Qu Yuan exiled, Naifu "Leaving Sorrow"; Zuo Qiu was blind and had "Chinese"; Sun Tzu's foot, "The Art of War" xiu lie; Bu Wei Qian shu, the hereditary "Lü Lan"; Han Fei imprisoned Qin, "Speaking Difficulty", "Lonely Anger"; "Poems" three hundred, the works of the great sages who were angry.
This spirit of writing books with indignation not only inspires generations of people with lofty ideals to compose literary music with their lives, but also alludes to the "sublimation" theory of artistic creation in modern psychoanalysis. Sima Xiangru's "Zi Xuan" and "Shanglin" are grand in body and depict magnificent scenes. The "Nagato Fu", which is worth thousands of dollars, is a good story in the history of literature. Dong Zhongshu's policy made Confucianism the orthodox idea of Chinese society, and its influence lasted for more than 2,000 years.
The third peak was the Tang Dynasty.
In the tang dynasty poetry sky where the stars shine, the brilliant light of the superstar is magnificent. Wang Wei, Li Bai and Du Fu, known as the three great poets of the Tang Dynasty, have successively visited Xianyang, and their poems have become the second powerful spotlight in the history of Xianyang and even Chinese literature, shining with aurora-like fantasy magnificence. Wang Wei's "Weicheng Song" went west along the Silk Road out of Yangguan in that year, and then returned to Li in three folds, flying out of China today, wandering the world in the clouds, and becoming an eternal farewell song. The ranger teenager in "The Young Journey" who "meets the spirit of the king to drink, and the horse is on the weeping willow side" is still active in all parts of Xianyang. Known as the "Poetry Buddha", he proudly followed the general in Weicheng's "Watching the Hunt":
The wind horn bows, and the general hunts Weicheng. The grass is dry and the eagle's eye is sick, and the snow is light on the horse's hooves. Ignored Xinfeng City, it also returned to the Xiaoliu Camp. Looking back at the archery, the twilight clouds are flat.
The song "King of Qin sweeps Liuhe, the tiger looks at He Xiongya!" Li Bai, who wielded his sword to break through the clouds, and the princes came to the west as far as possible, or because he was born with a chivalrous heart and had a chivalrous feeling, he was falsely called "Ancient Confused Boy". He who loved the Xianyang Ranger boy did not come to Xianyang, "the wind blew my heart, hanging the Xianyang tree in the west"; that is, to Xianyang, "Xianyang In February and March, the golden branches of the palace willow", "in March Xianyang City, a thousand flowers are like a brocade"; he will leave Xianyang, "the horse is like the wind, and the whip is whipped out of the Wei Bridge"; thinking of returning to Xianyang, "Reaping the merits of the Son of Heaven, singing to Xianyang". Shi Xian's solemn Xianyang complex finally crystallized into "Remembrance of Qin'e" that "guan has been passed down for thousands of years":
Qin E's dream broke Qin Louyue. Qin Louyue, every year willow color, Baling wound farewell.
Leyouyuan on the Qing Autumn Festival, Xianyang Ancient Road sound dust. Sound and dust, the west wind is still shining, and the Han family is lingque.
Ah, "the west wind is shining, the Han family tomb que", "the eastern pyramid" is facing the rising sun today, glowing with new magnificent splendor. Du Fu's audiovisual reach:
The ruts of the car, the horses, the bows and arrows of the pedestrians are at the waist,
The grandmother's wife went to send each other, and the dust did not see the Xianyang Bridge.
Xianyang, where he saw a bridge on the first line, now has 8 bridges flying frames, running through the north and south. God traveled to his homeland, and he did not know how the poet would feel. Bai Juyi, another poetry superstar born two years after Du Fu's death, whose immortal "Long Hate Song" echoed for thousands of years on the banks of Ma Songpo and the land of China, has long been composed of poetry and drama, and song and dance, and film and television, Yang Guifei has become an oriental tragic goddess comparable to Cleopatra.
After quoting Wang Yangming, there is another sentence: "However, since the Hengqu, this learning is not taught, or it is no different from the Four Directions." "With the southward shift of economic, political and cultural centers, Xianyang and even Shaanxi have no longer regained the great Han style and prosperous Tang Dynasty atmosphere of the past. The voice of the local literati is weak and weak, and the voice of the foreign rioters is sparse and thin. Maoling, Zhaoling, Qianling, and Yang Guifei's tomb have become the symbols and symbols of politicians and literati of all generations. I think back then, poetry was sent by the landscape; looking at today, the landscape is enhanced by poetry. In ancient times, Xianyang changed from a luminous body to a reflective body. In the Ming Dynasty, only a champion Kang Hai emerged, composing scattered songs and miscellaneous dramas, and creating the "Kangjia Ban Society". The immortal contribution of this "originator of the Qin Cavity" is that the Qin Cavity not only ranks first among all kinds of opera in China, but also the "Xipi" evolved from its descendants also merged with the "Erhuang" during the Daoguang and Xianfeng years of the Qing Dynasty to reproduce today's national opera - Peking Opera.
The fourth peak is modern.
At the end of the Qing Dynasty, Feng Guangyu said in the "Sequence of the Revolutionary War in Xinhai, Shaanxi": "My Shaanxi is secluded in the western province, the traffic is not convenient, and the import of civilization is also less expensive. The maturity of things often precedes the northwest; since ancient times, those who have lifted great things, managed to create, or by others, and their success, do not precede this. The Shaanxi people are blunt and thick in quality, but the blunt people feel that they are late in their hearts and it is a little difficult to start things; if they are thick, they are strong and resolute, and it is easy to succeed in the end; it is recorded in the annals of history, and this is true in ancient times."
The first person in modern Shaanxi to "open his eyes to see the world" was Liu Guyu. In his long teaching career, he advocated the abolition of eight shares, established new learning, raised industries, and cultivated new talents. In the Reform Reform Method, it corresponds to the Kang Liang "Drum", which is called "Southern Kang Bei Liu". Four years after the coup d'état, he mourned the martyr Tan Sitong, who was brave and brave and shed his blood:
It was He Guoyun's decadence, and Qi Zhong risked death. The bottom of the prison song shixiong a sword, the city head shouted shame three acacia. It is fortunate to have a son and a courtier, and it is difficult to heal the martyrs and mourn. I believe in the iron stone of the ghost ambition, and the emperor is not ashes.
Song Bolu, who was in a high position in the imperial history during the Penghu Restoration, played 10 pieces of music drafted by Kang Youwei in his own name within half a year. After the coup d'état, he was the first to "dismiss the bandits as abusive and never use them." Later, in the poems of the Western Regions written by Ili, he admired Zuo Zongtang, a patriotic general of the generation who praised the suppression of rebellion and protection of Xinjiang:
Zuo Hou rose to zhongxing day and vowed to sweep the heavens and expand emperor ren. The Wanli Car Book is extinct, and the sons of Sanxiang are full of heroes. Fenglin fish sea spring breeze far away, Yusai Jincheng willow color new. Today, Xi'an needs to be guaranteed, and who is the Qisi people in Jiuyuan.
As one of the founders of Yi Folk Society, the famous Qin operawright Fan Zidong has created 68 large and small plays such as "Three Drops of Blood" and "Xinhua Dream" with profound themes and distinct characters in the more than 40 years since 1912. Most of them boldly reflect the shortcomings of life, acupuncture. In his youth, Yu Youren had a strong patriotic passion and national indignation, and composed the "Tomb of Xingping Yonggu Yangfei" in 1903, which pointed the spearhead directly at Empress Dowager Cixi, the diehard leader of the Qing court. Mao Zedong told the American journalist Edgar Snow in 1935 that he had found that the Minli Bao, which was the editor-in-chief of Yu's right, was full of exciting material, and he "would love to meet the editor-in-chief." "After 1949, Yu Weng was in Taiwan Island, and his heart was related to the mainland. "Looking at the Continent", written two years before his death, is not only a mournful and miserable swan song, but also a song of the ages:
Bury me on the high mountain, look at my hometown; The hometown is invisible and can never be forgotten. Bury me on a high mountain, look at my continent; The mainland is invisible, only crying. The sky is clear, the wilderness is vast, and above the mountains, the country is dead.
A generation of grass saints, poetry and calligraphy, twin peaks and stand together. He and Yang Hucheng were one by one, and the twin peaks stood side by side, becoming a great hero of the Ming Dynasty who had a major impact on Shaanxi at home and abroad in recent times. Wu Mi studied throughout the East and the West, integrating ancient and modern, and is known as the father of Chinese comparative literature, especially writing poetry. He wrote a number of love poems to Mao Mou, his dream lover who worshiped "Helen". However, the lady did not appreciate it, and until the year of "Renrui", she still "did not change to the sound". Her iron heart reflects the pure love and cuteness of my hometown sage.
precisely:
Zhong Lingyu xiu xianyang land, dai you wenguang shooting bullfighting.
Following the past and opening up today's events, travel to Europe and visit the United States and go around the world.
Author Nansheng Bridge
About author:Nanshengqiao, male, Xingping, Shaanxi, associate professor of the School of Literature and Communication, Xianyang Normal University. He is a member of the Chinese Poetry Society, the Shaanxi Writers Association, and the Shaanxi Poetry Society (and a special commentator of the latter). He has published dozens of articles, dozens of poem reviews and poems in journals such as "Thirteen Classics Dictionary and Mao Poetry Volume"; published dozens of poems and poems in journals such as Journal of Northwest University, World Chinese Literature Forum, Chinese Dictionary and Poetry World, and the monograph "Twenty-Five Historical Dreams and Cultural Discussions" was renamed "Twenty-Five Interpretations of Shi Meng Culture" by China Book Publishing House and reprinted twice (hardcover once) and publicly distributed.
Responsible editor Lei Xiaohe
Note: This article is from the public account Damei Western Observation, which is authorized by Damei Western Observation.