Chapter 17 Chapter 16 Literature Flying in Troubled Times

Literature may not prosper in governing times, but it may prosper in troubled times.This is because literature, as a personal and personalized spiritual creation activity, is restricted by many external factors such as economy, politics, morality and folk customs in a specific social and historical period, but in the final analysis, the degree of freedom obtained by the creative subject depends play a decisive role.The flourishing literature of the Three Kingdoms period, marked by Jian'an poetry and Zhengshi poetry, is a sample of the prosperity of literature in troubled times. From the end of the Eastern Han Dynasty to the short-term unification of Wu in the Western Jin Dynasty, political corruption and frequent wars continued for more than a hundred years, which directly led to the decline of people's livelihood, economic crisis, moral weakness and customs variation. It was indeed a troubled world.But in this chaotic world, just like the battles of Guandu, Chibi, and Yiling in the military field, which showed that the few won the many, and the weak defeated the strong, which shocked the ancient and modern, the Jian'an poems and Zhengshi poems in the literary field, It also prospered in the annals of history with the simultaneous prosperity of poetry, parallel prose, Fu, and commentary.Poetry inherits the charm of Han Yuefu folk songs and opens up a new stage for literati pentagram poems. Pentagram poems have replaced Ci Fu in the Han Dynasty and become the dominant form in the literary world. Four-character poems, seven-character poems, and miscellaneous poems are also quite good. .Parallel prose also inherited the Eastern Han Dynasty's pairing of words and sentences, laying out rhetoric, emphasizing rhythm, and using allusions.Although the achievement of Ci Fu is not as great as that of poetry, it follows the fashion of sketches opened by Ban Gu's "Bamboo Fan Fu", Ban Zhao's "Needle Thread Fu" and Zhang Heng's "Hot Spring Fu" in the Eastern Han Dynasty. Leading out of the Six Dynasties lyric Fu.The representative of the commentary is Cao Pi's "Dian Lun·Dissertation", and his auxiliary works include some letters by him, Cao Zhi, Wu Zhi, Yang Xiu and others criticizing the writers and works at that time, which marked the beginning of professional literary criticism by literati. The creation of poetry and prose fluttered its wings and played an inspiring role.All of this never happened in the reign of Emperor Qin Shihuang who ruled the world, or even in the prosperity of Qingkang, Yong, and Qian Dynasties.

Why did literature flourish in the troubled times of the Three Kingdoms?According to the literary theories that people were familiar with at the time, it was easy to first think that it was the tragic reality of that troubled time that provided inexhaustible materials and themes for literary creation.It should be said that this is beyond doubt. Without the source of life, literary creation is doomed to become a tree without roots and water without a source.So far, all the writers of the Three Kingdoms who have glorified the annals of literature are the experiencers and witnesses of life in troubled times, and many of them are direct participants and directors of the history of the Three Kingdoms.Without the Kwantung Allied Forces attacking Dong Zhuo in the first year of Chuping (190), Cao Cao would not have been able to write "Haoli Xing", as Zhong Xing of the Ming Dynasty commented as "the real record of the end of Han Dynasty, the true history of poetry" (see "Gu Shi Gui").There is no "Xingpingzhong (194-195), the world was in chaos, Wenji was captured by Hu Qi", "in Huzhong for twelve years, she gave birth to two sons", and Cao Cao later "redeemed her with gold and remarried to her husband". (Dong) Sacrifice", Cai Yan could not write the second chapter of "Poetry of Sorrow and Indignation", which is "sentimental and chaotic, reminiscing about grief and indignation" (see "Book of the Later Han Biography of Lie Nu").Without avoiding chaos in Jingzhou from the age of 17 and being attached to Liu Biao for 15 years, Wang Can could not write "Ode to Denglou".What's more, without the power struggle with his elder brother Cao Pi, Cao Zhi would not be able to write "Yuhe Pian" and "Luo Shen Fu".Examples can be described as numerous.However, if we overextend the constraints of many external factors such as economy, politics, morality, and folk customs in a specific social and historical period, thinking that they can determine the value and taste of literary creation, we will inevitably fall into the trap of using the spear and attacking the shield. How embarrassing and confusing it will be.Compared with the Shu Han, under the same social and historical conditions, literary creation is actually a world of prosperity and decline, so it is necessary to make further research on the basis of people.

The literary creation of the Three Kingdoms period was thriving and had a considerable history, which was mainly reflected in the Cao Wei camp (the Eastern Wu was next, and the talents and achievements were not highlighted until the Western Jin Dynasty).In the Cao Wei camp, starting from Cao Cao, Cao Pi, Cao Zhi and his sons, they all have a relatively high degree of recognition of the personal freedom of the subject of literary creation, which is the key to the prosperity of literary creation.Because literary creation is essentially a personal and individualized spiritual creation activity, the degree of realization of the subject's personal freedom directly determines what to write, how to write, and how well to write.What is freedom?Referring to the interpretation of Kant, the founder of German classical philosophy, freedom means not doing things against one's will and not doing things against one's will.He believes that only when human will is in a free state can moral concepts have meaning.Cao Cao has been "dissolute" since he was a child, and his consciousness and behavior are quite liberated.After he took power, he issued orders to seek talents several times, advocated "only talents", and advocated that "those who do things may not be able to make progress, and those who are enterprising may not be able to do things", which not only benefited him in politics. , Military recruiting talents, and help those who believe in his words and those who hope to break through the moral barriers of Confucianism, and tend to emancipate the mind, themes and forms in literary creation.Cao Pi's "Dian Lun · Dissertation" further discusses literature, advocating that "put one's body in calligraphy, see ideas in books, do not pretend to be good history, do not rely on the momentum of galloping, and fame is autobiographical".Gaining "fame" by writing freely, as advocated by the state leaders or quasi-state leaders at the time, naturally became the value orientation of literary scholars.Therefore, as described in Cao Pi's "Dian Lun·Dissertation", "Salty rides on his own for thousands of miles, standing on his feet and galloping side by side"; as described in Cao Zhi's "Book with Yang Dezu", "Everyone runs on their own. It is said to hold the pearl of the spirit snake, and every family calls it to hold the jade of Jingshan Mountain", and a literary atmosphere of free creation and free competition has been formed.Cao Zhi, who has always been "willful and self-willed", has changed from competing for favor to being under pressure in politics, and his ambition and talent have shifted more to literature, which is outstandingly different from Jian'an literary field.

Under the wings of Cao's father and son, Kong Rong, Chen Lin, Wang Can, Xu Gan, Ruan Yu, Ying Yu, Liu Zhen, and Fan Qin, Ying Yu, Wu Zhi, Du Zhi, who are collectively known as the "Seven Sons of Jian'an", gathered together. , Miao Xi, Handan Dun, Zuo Yannian and other famous writers, can be said to have flourished for a while.All of them are "generous and self-sufficient, open and honest to make talents" (see "Wen Xin Diao Long · Ming Poems"), and have become "Jian'an character".When Cao Mao and Cao Fang were in power, and even at the end of Wei Dynasty and the beginning of Jin Dynasty, "Seven Sages of the Bamboo Grove" such as Ruan Ji and Ji Kang had different forms of free expression but similar essence, leading Wei and Jin literature into the era of self-consciousness.

Cao Cao is not only a political and military leader, but also a literary leader.Although there are only more than 20 of his handed down poems, his poems such as "The Songs of Chu" and "The Songs of Chu" are closely related to the folk songs of Han Yuefu. Heart.Especially the five-character poems have made outstanding contributions to pushing this style of poetry from Yuefu folk songs to literati poetry. Both "Songli Xing" and "Xielu" "use Yuefu inscriptions to describe current events in the late Han Dynasty" and "use the sorrow of the bereavement as an elegy" (see Fang Dongshu's "Zhaomei Zhanyan").

Both "Bitter Cold Journey" and "A Journey to East and West" describe the experience and feelings of military life, using metaphors, singing upside down, and singing in parallel, both objective and subjective. The taste of Han Yuefu.Four-character poems were already in decline at that time, and Cao Cao put new wine in old bottles to express his feelings and aspirations, which was also the best for a while.For example, "Duan Ge Xing" was written to win over Xun Yu, using the two sentences "Qingqing Zijin, leisurely my heart" and the four sentences "Yoyo Luming, eating wild apples, I have guests, playing the lute and sheng" to express the "mountain Never tire of heights, seas never tire of depths, the Duke of Zhou vomits and feeds, and the world returns to his heart." The sincere and simple words and hesitant brushstrokes embody abundant feelings and vigorous momentum. The first song "Guan Canghai" and the fourth song "Gui Shishou" in "Stepping out of Xiamen Xing", the former describes what he saw and felt "Looking at Jieshi in the east, and watching the sea", while the latter freely describes his "old man standing on the ground, with aspirations". In Qianli's thoughts and wishes, there are both "dominant spirit" and "Bodhisattva spirit" (Tan Yuanchun's words, see "Gu Shigui"), which can be described as four words.Chen Zuoming believes that "Cao Mengde's poems are like the sculptures of the clouds, which vibrate quickly, expel the flames, and point to Xiaohan. They fly back and swing, meaning to go straight up, not willing to go down at once, and to go up and down again" ("Caiweitang Ancient Poems") "Selection"), perhaps too much reputation.But no matter how you say it, Cao Cao engaged in poetry creation with his positive and free attitude, which really opened up the Jian'an poetry style.

Cao Pi only lived to be 40 years old in his life, but he was "good at literature and devoted himself to writing", which was unprecedented among the emperor's writers.His poems are inferior to Naiweng Cao Cao, but his artistic achievements are superior to them.Aside from the fact that both he and Cao Zhi wrote some poems about "pity the wind and the moon, love the pool garden, describe the grace and glory, and discuss the feast" (see "Wen Xin Diao Long·Ming Poems"), he There are also many poem titles related to the grand occasion of being a teacher, the great cause of reunification, the misfortune of women, and the eagerness of wanderers. Whatever you write, you can follow your own wishes.In terms of how to write and how to write, Cao Pi is outstanding in that his language is elegant and his emotions are harmonious.Shen Deqian pointed out, "Zi Huan has literary morale, and his father's tragic habit of changing. If you want it to be simple and graceful, it can transfer human feelings."

(See "The Source of Ancient Poetry") He inherited that kind of sentiment, but endowed the literati with the refinement and beauty of elegance, which opened the precedent for the later generations of aesthetic poetry and graceful poetry.His two seven-character poems "Yan Ge Xing", in the history of the development of Chinese poetry, are especially the first masterpieces of seven-character poems, which are exquisite, bright, sad and moving.Cao Pi's literary criticism contributed more than his creation.His "Allusions · Dissertations" is recognized by the literary history circle as the originator of Chinese literary criticism monographs.Both are the first person in ancient times, and both are excellent, and his literary status and influence are self-evident.

There are four main outstanding contributions of "Dian Lun·Papers".On the first point, Cao Pi clearly stated that "articles are the great cause of the country, and the immortal event".Whether or not literature is really that great is irrelevant.However, it is unprecedented and liberating to separate literature from the consistent vassal status of the Six Classics in the pre-Qin and Han Dynasties, and to affirm its independence, nobility, and immortality. .The second point is that Cao Pi made stipples on the different requirements of different styles of writing: "Zouyi should be elegant, book theory should be reasonable, inscriptions should be realistic, and poems should be beautiful."Although not all the styles involved belong to literature, this distinction echoes the independence of literature after all, reveals the differences of styles, and points out a new direction for the future evolution and development of literature.The third point is that Cao Pi first advocated the theory of "literary qi", advocating that "literature is based on qi, and the turbidity of qi should not be caused by force".The so-called "literary spirit" is the personality display of the creative subject's personal talent and character in the works.Literary individuality is the soul of literary freedom. No matter how rough Cao Pi’s statement is, he was the first to emphasize the importance of literary individuality. This contribution is no less than the above two points, or even exceeds it.Fourthly, he not only criticized the phenomenon of "slightly neglecting literati" that "has been natural since ancient times" in general, but also specifically commented on the pros and cons of the "Seven Sons of Jian'an", which was quite accurate.This is positive literary criticism, but also free literary criticism, and he counted it as a demonstration.The practice of Jian'an literature proves that active and free literary criticism and active and free literary creation are like the two wheels of a cart and the two wings of a bird. Only when both wheels move or fly together can the great cause of active and free literature be promoted.

Cao Zhi's natural life was not long, he only lived to be 41 years old, and died of depression in the sixth year of Wei Ming Emperor Cao Ruitaihe (232).But his literary life is very long, not only resounding in the world, Gao Biao Yiyun ranks first among Jian'an literati, but also shines for thousands of years, becoming one of the most outstanding poets in the corridor of ancient Chinese literature.Based on the year when Cao Pi became emperor (220), Cao Zhi's life and creation can be divided into two periods.In the previous period, it was roughly similar to Cao Pi. The noble son "felt love for the wind and the moon, made love to the pool garden, talked about his kindness and glory, and talked about the feast" to entertain himself and be free.There are small differences from time to time in Datong, one is as written in "Gift to Xu Qian", "Who is the treasure abandoning resentment, and the He family has his faults, and the crown is the confidant, who is the confidant?" The anguish of showing talent and making contributions.The second is as written in "Song Ying Shi", "The middle field is so depressed, there are no people for thousands of miles, and I miss my lifelong relatives, and I can't express my anger." For Luoyang, which has not been restored for nearly 20 years after Dong Zhuo's rebellion, it is full of desolation. Unlimited emotion.In the twenty-fifth year of Jian'an (220), Cao Pi became Emperor Wen of Wei, and the relationship between brothers changed from here to the relationship between monarch and minister. Cao Zhi, who became a loser in political power struggle, was repeatedly demoted and relocated, and was extremely frustrated.After Cao Rui ascended the throne in the first year of Taihe (227), this situation remained unchanged, which made him depressed and angry all his life.Anger is originally helpful for poets, not to mention that he is "soft and beautiful, without compromising his writing, but his guts are full of strength, and sometimes there are lumps, which seems to be an exaggeration" (Zhong Xing's comment, see "Gu Poetry Return"). Full of desire for freedom, resistance to persecution, contempt for vulgar thoughts, and resentment of underappreciated talent, no one can match it for a while.

Zhong Rong's "Poetry" once said that Cao Zhi's five-character poems "originated from "Guofeng", have a high backbone, a magnificence of words, a combination of emotion and elegance, style and quality, and are outstanding in both modern and ancient times." "For example, there is a Zhou hole in human relations, and there are dragons and phoenixes in scales and feathers."Such an analogy might be a bit too much, but Cao Zhi's excellent poems such as "Konghou Yin", "Resentment Songs", "Famous Capitals", "Beauty", "White Horse", "Calling", "Abandoned Women", "Gift to Ding Yi", "Gift to the White Horse Wang Biao", "The Yellow Bird in the Field", "Miscellaneous Poems", "Seven Apoems", etc., are indeed different from "Guo Feng" and have the same laws, making people at the time unable to match .For example, in the poem, the ambition of "sacrificing one's life to go to the country, seeing death as a sudden return", the resentment of "going southward and west in the daytime, the scenery is unattainable", the anger of "beautiful women admire high righteousness, and it is difficult to seek virtuous and virtuous", "wouldn't it hurt to be destroyed?" , Willing to be connected with the plants and plants", the stagnant qi is all vented, and sees through the liver and intestines.And "the bright moon shines on the tall buildings, and the streamer is lingering", "the tall trees are full of sorrowful winds, and the sea waves are blowing", "there are beautiful women in the southern country, whose beauty is like peaches and plums", "the wind is blowing and the sun is shining, and they suddenly return to the west mountain". The splendor, the sonorous syllables, the grandeur of the chapters, and the amazing images are really as Zhang Jie praised "the sound of gold and the vibration of jade, the words are not urgent but the meaning is unique" (see "Sui Han Tang Shi Hua") .During the more than 700 years from Qu Yuan to Tao Qian, in terms of the distinctive personality of the creation and the free expression of the subject, it can be said that Cao Zhi is unique, and each of the three is a peak. In Fu, Cao Zhi is equally true, majestic and eagle-like.He has written many small lyrical fuss, which are as emotional and lyrical as his poems, but not as good as "Luo Shen Fu".As Xiaoxu stated, this Fu is "in the third year of Huangchu (222), the capital of the Yu Dynasty, returned to Luochuan (Luoshui)", and was written because of "sense of Song Yu telling the king of Chu about the goddess".The entire text is based on Song Yu's "Goddess Fu" in the Warring States Period. The structure, layout, character appearance and clothing are all inherited, but the image description, emotional connotation and sustenance surpassed "Goddess Fu". "Its shape is as light as a frightened bird, as graceful as a swimming dragon", "as if the moon is covered by light clouds, and the snow flutters like the flowing wind". The series of metaphors of "Furong coming out of Lubo", from static to dynamic, from hazy to visible, from far-sighted to close-up, describe the beauty of Luoshen incomparably amazingly, vividly and vividly on the paper.Even in the encounter between man and god, it further describes how Luoshen "moves her lips to speak softly, and presents the outline of the handover", how to "resist the tears in the coat of arms, and the waves of tears flow", revealing the inner feelings from the appearance, meticulous Subtlety, exquisiteness.It seems unreal and seems real, disappearing in an instant, and naturally cuts into the emotional theme of "the way of hating people and gods is different, and resenting the indifference of the prime of life", constructing a melancholy "imagination of leftovers, nostalgia and nostalgia". The depth of "sorrow" essentially embodies Cao Zhi's fate: The pursuit of ideals is beyond reach.Compared with Song Yu and many Han Fus, the personal feelings expressed in "Luo Shen Fu" are more real, more tangible, and more conceivable; it integrates the rhetorical function of Chinese and the lyrical function of Ci Fu, and exerts it to the fullest extent. Ultimate, especially better than those predecessors, opened the way for the prosperity of lyrical Fu in the Wei, Jin, Southern and Northern Dynasties.Coupled with the outstanding achievements in poetry, it can be said that Cao Zhi's political ideals were suppressed. Although it was an unwilling and irresistible life disaster for him, it was a blessing for Chinese literature.Fortunately, it has made Chinese history lose a first-class emperor who might be like Sui Yangdi and Li's empress, and add a super-class writer who pursued Qu Yuan before and cited Tao Qian later. Among the "Seven Sons of Jian'an", Wang Can has the highest achievement in poetry and prose. "Wen Xin Diao Long·Cai Lue Pian" thinks: "Zhongxuan (Wang Can's character) is full of talent, quick and dense, proficient in many writings, with few flaws in his diction. If you take his poems and Fu, you will be the crown of the seven sons." He The three "Seven Poems of Sorrow" and "Five Poems of Joining the Army" written about the feelings of chaos and separation, life in prison and what he heard about the army, all of which are full of self-harm and desolation. Miscellaneous Poems, Poems on Public Banquets and Poems Ode to Epic also describe his life experiences, attitudes and emotions from multiple angles.What is particularly commendable is "Ode to the Tower" written during his stay in Jingzhou.This Fu has the same background as the second poem of "Seven Sorrows Poems", "There is no limit to the end of the journey, and it is difficult to worry about thinking and thinking".Starting from the topic of "Looking around from the tower, chatting about the leisure time to relieve worries", firstly describing what you can see when you climb the tower, and eliciting the theme of "Although you believe in beauty but not in my land, why should you stay less?"Secondly, it describes the affectionate nostalgia, which is lingering to the point, and it is attributed to "human feelings are the same as nostalgia, how can it be poor but different from the heart".Finally, from the scene in the eyes and the emotions in the heart to the level of social reality, it is not only "feeling and sad" to the chaotic world of "the wilderness is deserted, and the husband is marching without rest", but also to "walking and living too late". Xi, the wasted time of "suddenly hiding in the west" in the daytime "feeling with sadness", thus expressing the expectation of "the peace of the king's way".Personal thoughts and feelings are closely connected with social turmoil and the people's hope for stability. The description of scenery and lyricism are closely linked with the use of allusions, making "Ode to the Tower" and "Ode to Luoshen" a double jade, and it has become a masterpiece of contemporary lyric poetry.The building he climbed at that time was in Dangyang, Hubei today, and there are "Zhongxuan Towers" in Dangyang, Xiangyang, and Jiangling for later generations, which shows how far-reaching this Fu has been to later generations. Chen Lin is good at Zhang Biao. The style of Zhang Biao does not belong to literature itself, but the parallel prose form makes it possible to be included in the literature.Since the middle and late period of the Eastern Han Dynasty, there has been a tendency for articles to be parallelized, and the generosity of Jian'an literati has added fuel to the flames.For example, Cao Pi's "Allusions · Essays", "Book with Wu Zhi", Cao Zhi's "Book with Yang Dezu", "Seeking Self-Test Table", etc., are all in parallel, with a smooth momentum, and the discussions are vertical and horizontal. The lyrical cadence reciprocates, full of sadness and moving.Chen Lin's achievements in poetry are not as good as those of the Cao brothers, but the level of parallel prose is comparable to that of the above and below.His epistles and letters such as Calling Yuzhou for Yuan Shao, Books for Yuan Shao and Gongsun Zan, and Songs Calling for the School of Wu Generals are eloquent and eloquent, exaggerating the vigorous situation, criticizing ugliness like a golden needle piercing acupoints, and stating the benefits and harms. The wind swept the ground, which was full of tension.For example, the famous article denouncing Cao Cao scolded the three generations of the Cao family as soon as the title was broken, which directly ordered Cao Cao to heal his headache immediately after reading it, which reflects the strong stimulating power of the text.Later, when Cao Cao subdued Chen Lin, he reprimanded him for "stop the evil in his body, why should he be as good as his father and grandfather", Chen Lin replied, "the arrow is on the string, you must send it", which also reflects that the literary spirit is like a rainbow and cannot be stopped.And he criticized Cao Cao politically for "being in the position of the three lords, but he acted like a captive, polluted the country, abused the people, and poisoned ghosts." According to the records, officials without morality are greedy and cruel, and they are more serious about manipulation." Regardless of the content, only from the parallelism and ostentation of the writing, it has set a precedent for parallel writing in the Six Dynasties.Ruan Yu, who is also the "Seven Sons of Jian'an", also wrote "Books for Cao Gong and Sun Quan", and Wang Can also wrote "Books for Liu Jingzhou and Yuan Tan" and "Books for Liu Jingzhou and Yuan Shang". Lin Xiwen is quite similar, but it is euphemistic and precise, but it is not as vigorous and unrestrained. The Cao Wei regime passed through two generations of Cao Pi and Cao Rui, and was passed on to the third generation Cao Fang in 240. It was the beginning of Jianyuan, and then Cao Mao and Cao Huan until the end of Wei Dynasty. The literature belongs to the Zhengshi period.The representative writers of this period are Ruan Ji, Ji Kang, Shan Tao, Xiang Xiu, Ruan Xian, Wang Rong, Liu Ling, who are known as the "Seven Sages of the Bamboo Grove", as well as Ying Qi, Ying Yuan, Du Zhi, He Yan, and Zuo Yannian. and others.Cao Fang was only eight years old when he became emperor, and the secret struggle between the two ministers Cao Shuang and Sima Yi lasted for seven or eight years, and finally ended with Sima Yi winning in the first year of Jiaping (249). He Yan, who was politically trapped in Cao Shuang's gang, also The barbarians are among the three tribes.From Sima Yi to Sima Shi and then to Sima Zhao, the Sima family actually controlled the military and political power of Wei State.As a result, the literati were bound to split: some literary scholars, including Shan Tao and Xiang Xiu among the "Seven Sages of the Bamboo Grove", gradually changed their political orientation and joined the Sima family, becoming writers within the system at that time. Some lived until the early years of the Western Jin Dynasty; another group of literary scholars adopted a serious attitude and opposed the existing political order with the Taoist thought of advocating nature, and became writers outside the system at that time. The outstanding representatives were Ruan Ji and Ji Kang.Just as "Wen Xin Diao Long Cai Lue Pian" said, "Master Ji Kang used his heart to discuss, and Ruan Ji used his breath to order his poems. Different voices echoed together, and different voices flew together." This not only inherited the generosity of some Jian'an literati With the strength of character and the unique critical spirit of scholars advocating Taoism since the beginning of Zhengshi, he has become a outstanding person in the world.In terms of poetic achievement and influence, writers outside the system clearly outperformed those inside the system, which seemed to be the biggest feature in the field of literature in that period. Ruan Ji is the son of Ruan Yu. "Book of Jin·Ruan Ji Biography" said that he "has the ambition to help the world. During the Wei and Jin Dynasties, there are many reasons in the world, and there are few famous scholars who are complete. The reason is that they are not in touch with the world, so they drink frequently."He used the indulgent way of drinking to get drunk to cover up his unyielding position towards Sima and fight against the hypocritical famous teachers.The five-character poems in his life were compiled into eighty-two poems of "Yong Huai", which is like a record of his life.Most of these casual feelings embody his personal worries about life and irony of the times, as Zhong Rong commented in "Poetry", "Words are within the eyes and ears, and emotions are on the surface of the wilderness", "Juezhi Yuanfang, It’s hard to find fun.”Feelings such as "I can't protect myself, let alone love my wife" and "I walk on thin ice all my life, who knows my heart is anxious", are often seen in the text, and the emotion of fear of disaster is clearly on the paper. The metaphorical image of "the green water raises the flood, the wilderness is vast, the beasts run wild, and the birds follow each other" is beyond personal worries, and the pen outlines the harsh and dangerous current political atmosphere. "The heavenly net covers the four fields, the six tents can't be covered, and the waves are scattered, and the generality is like a floating cat." Current politics make life difficult. This state of "life has no time, and there is no danger every day" is especially universal.But he refused to sink, so he also satirized the inconsistency of those famous educators at that time who were "stern and chaste on the outside, extinguishing the fragrance inside, speaking from the heart, and repeating righteous prescriptions".Transferred to the prose "Biography of Mr. Adults", Ruan Ji's cynicism is hard to suppress after all, and under the pretense of Lao Zhuang, he is very dissatisfied with the mainstream society at that time, "making sounds to make noise, coloring to lure appearance, and changing appearance". , Concealing his feelings inwardly, seeking more with desires, defrauding the false in order to get the name...false honesty to become greedy, internal dangers but external benevolence" ruthlessly exposed and lashed out.Ruan Ji's character and literary quality not only directly influenced the literary figures and literary works during the Wei, Jin, Southern and Northern Dynasties, but also passed on to later generations. If Ruan Ji can be regarded as an evasive tough opposition, then Ji Kang should be regarded as a collisional hard resistance.He admired Lao Zhuang more than Ruan Ji, and at the same time he was more righteous and rebellious.His poems are not as good as many poets at that time, but his prose is just like his own, stern and lofty, outstanding.He preached in "Interpretation of Privateness" that the difference between public and private is the difference between truth and falsehood. Only by surpassing the name and teaching and letting nature go, and doing things that do not violate the Dao, can one be called a gentleman.It is also said in "Natural Difficulty and Love of Learning" that seeking profit and wealth through learning is only the result of the ruler's temptation, which is not in line with the nature of human nature.His friend Shan Tao (zi Juyuan) failed to insist on returning to hermit nature. After the age of 40, he became an official. "Letter of Breaking Friendship with Shan Juyuan".In this letter of resignation, Ji Kang clearly declared that "his ambition is entrusted to him and cannot be taken away", and that "there are seven people who must be unbearable, and two who are very unbearable" when he becomes an official.Among them, the "two things that cannot be done" are: one is that he must insist on "not using Tang and Wu, but thinning Zhou and Confucius", and the other is that he must stick to "hard-hearted and evil, and frankly speak out". , "When something happens, it will happen."Before this, he had even taunted Sima Zhao's confidant in person—the powerful literati Zhong Hui, who had offended the authorities long ago.With this letter publicly declaring that he would never be in harmony with the authorities, it really made "the general (Sima Zhao) angry when he heard about it", and soon he was publicly killed with an excuse.According to the "Book of Jin Ji Kang Biography": "General Kang punished Dongshi, and three thousand students from the imperial court invited them to be teachers, and (the authorities) refused." Ji Kang was unyielding before his execution. Lamenting that "he will die now", he was punished. He was forty years old at the time, and he was the third year of Wei Jingyuan (262).But never, Ji Kang is not dead, even under a hundred generations, there are still people looking forward to it. Compared with the Cao Wei camp, the literature of the other two camps appears to be sluggish, which may be closely related to the supreme ruler's dislike, lack of attention, and non-advocacy, as well as the strict laws and urgency of governance.For example, in the Shu Han Dynasty, Zhuge Liang himself, as his biography said, "has a lot of teaching and teaching performances." The previous and later "Chu Shi Biao" have always been regarded as literary prose and included in history, which shows that there is no lack of literary talent.However, looking at his life, he did not engage in literature as a secondary career in addition to his main military and political career like Cao Cao. "If you like something at the top, you will be jealous at the bottom." Conversely, if you have nothing to like at the top, you will be jealous at the bottom.In the long feudal autocratic and centralized society, both positive and negative aspects of this unspoken rule are valid and commonly exist.Although "Three Kingdoms" does not mention how Zhuge Liang treats literature, under him and his designated successors, the Shu Han regime is the only governing entity in the Three Kingdoms that does not have official history books, which somewhat reflects that ideological control is quite strict; No, literary creation with a high degree of personal freedom is naturally difficult to have an indispensable ecological environment.Coupled with the harsh usage, Peng Yi, Lai Min, etc. were all convicted of intemperate speech, so it is inevitable that there will be a state of illiteracy during the dictatorship of Qin Shihuang, and it is not surprising.There is no one, it is impossible, the subject and the object are interdependent, and the free development of literature needs a minimum of free space after all.Taking Sun Wu as an example, in the period corresponding to Zhengshi literature, there were no writers and works rumored to be of later generations, not because there was no one under Wu, but because from Sun Quan to Sun Hao, politicians did not provide such a free space.The grandsons of Lu Xun and Lu Kang's sons, Lu Ji and Lu Yun, had already joined the society before Wu died, but his stepfather led the army, but he failed to achieve success in literature.Nine years after Wu's death, and the tenth year of Jin Taikang (289), the two brothers went north and entered Luoyang together. .Lu Ji and Pan Yue were also called "Pan Lu", just like a flashy star, second only to Zuo Si in achievement and influence.The contrast between before and after is strong, which should give people some profound enlightenment.