Ancient Chinese literati almost all went to become officials and pursue official careers.This is not the case for Western writers. They are either born in noble families, or are the sons of doctors, priests, lawyers, businessmen, teachers... In short, the distribution of occupations is relatively broad, and few people receive official salaries.Ancient Chinese literati had a deep and lasting connection with politics. There were many wars in ancient times, either Han people fought against Han people, or Han people fought against nomadic minorities. There were not many families that thrived for a century.Several noble and great literati, Qu Yuan, Ji Kang, Li Yu, Li Qingzhao, Cao Xueqin, were all created by bad luck.

The ancient literati went to the officialdom or turned their backs to the officialdom, and their "survival paths" were highly consistent.In the pre-Qin period, a hundred schools of thought contended, and people like Confucius shuttled from country to country year after year, looking like a bereaved dog with his brain running at high speed, thinking through many big problems.The Qin and Han Dynasties ended the situation of contending among schools of thought. Although there were rebounds from time to time for hundreds of years, they moved towards a great unification: the unification of Confucianism.In the Tang and Song Dynasties, knowledge and salary were directly linked in the form of imperial examinations.Scholars, if you can't get a title on the gold list, you have to go home and farm. "Farming and reading heirlooms" has been passed down for more than a thousand years.This is a Chinese characteristic.

Not all literati are good officials when they become officials.Once many literati enter the officialdom, they often forget the teachings of the sages and act according to the routines of the officialdom.Like Shu Quan and Li Ding in the Northern Song Dynasty, a number one scholar and a gifted scholar, he worked very hard to do immoral things;Another example is Yan Shu, who became a prime minister, good at Ci, but his character was problematic. He looked down on Liu Yong, who was wandering at the bottom, and judged Ouyang Xiu based on his appearance. However, the literary masters seem to be gentlemen.

From Qu Yuan Sima Qian to Lu Xun, who is not a gentleman? Wen Qi and awe-inspiring righteousness are connected.Unhealthy tendencies cannot write articles handed down from generation to generation.Flattery and flattery can only write articles that make the powerful and powerful, such as Han Fu.During the Warring States Period, there was already the role of "literary jester". A brilliant idea. Sima Qian resisted the imperial power, and Sima Xiangru attached to the imperial power. These two lines started with the two Sima and continued for a long time.In terms of the number of similar characters, there are many.However, the literary giants are all behind Qu Yuan Sima Qian, why?Only good words can be left behind because of true temperament, and false feelings and exaggerated flattery can only be complacent for a while.Who wants to read those flattering words that distort human nature?Unless he wants to learn how to flatter a horse.The emperor died with the words praising the emperor.Throughout the dynasties and dynasties of the feudal society, there were countless such flattering words, but they were slapped lightly by history into the eternal dark abyss.

"An Neng smashes his brows and bends his waist to serve the rich and powerful, which makes me unhappy!" With Li Bai's cry, he uttered countless voices from his heart. In the eyes of ordinary people, Li Bai's character is flawed. Du Fu said with emotion: "Everyone in the world is saying to kill, but I only pity talents." tension.Li Bai's poetic art benefits from this tension zone.Just like the meeting of cold and warm air currents, the wind produces rain and thunder and lightning. Li Bai has his faults and cannot be regarded as a moral model, but Li Bai is also an upright gentleman, and he wants to be a great Confucian like "Lu Zhongni" and stabilize the country.He has a pure heart, and when he meets Gao Lishi Yang Guozhong, a master of power, he immediately squints and opposes him.He drank wildly for 800 days in a place like the Imperial Academy, not necessarily because he followed the example of Liu Ling and Ruan Juan, although he was as drunk as mud, his heart was clear.Su Shi praised him: "Xi Wancheng is like a friend, and his peers are like worthless." Wei Wan praised him: "I have been proud all my life. I haven't been low in thirty years."

How many Hanlin bachelors in the prosperous and mid-Tang Dynasty learned the art of entering the body and drilling camp and were promoted to ministers of the minister.Li Bai stayed in this position for three years, but he only acted in Li Bai's way, regardless of the emperor's thoughts, and was finally dismissed by Xuanzong. The literati in the Tang Dynasty were already very powerful, and they rushed to the imperial power and passed it.Why is this?Because he carried two treasures with him: one is the Confucian ideal of governance, and the other is a distinctive personality. In the eyes of literati who are well versed in Confucianism, the imperial power is supreme, but the emperor is not supreme. There are two things restricting the emperor: the will of heaven and the harmony of government and people in the Yao and Shun era.The literati chanted God's will, Yao and Shun to the emperor like a mantra, and the emperor had a headache, but he didn't dare to refute: It's okay to go against God's will and Yao and Shun.Du Fu managed to become Zuo Shiyi, a mere eighth-rank official, but he didn't act according to Tang Suzong's intention, and he was frustrated since then when it came to saving Fangguan.The frustrated Du Fu also wrote a poem saying: "To Jun Yao and Shun, let the customs be mellow."

The literati insisted on the principle, but the literati did not know how to repent: "Although he died nine times, he still has no regrets." Luo River.In the ancient history of more than 2,000 years, this is the greatest suicide, which closely connects life with American politics and the destiny of the motherland.All Chinese people admire him, and they have always admired him to this day and into the future. Qu Yuan's ideals of beauty and cleanliness had a great influence on later generations of literati.Outstanding literati, in addition to Yao and Shun, Confucius and Mencius, and Lao Zhuang, also have Qu Zi in their minds.And since Mencius was regarded as the "sub-sage", his thought of "the people are more important than the emperor" has made the literati have an extra magic weapon in their hands, and they will show it to the king whenever they have the opportunity.

The emperors of all dynasties, who feared the will of heaven, obeyed the will of the people, and followed Yao and Shun, were all so-called Mingjun.On the contrary, it is a tyrant and a fool. None of the first-class literati in the past dynasties was a villain; none of the high-ranking officials was a disaster for the country and the people.This layer is worth pondering. Confucianism talks about self-cultivation, and literati are more serious about self-cultivation. In the power structure of ancient society, poets also played the role of prophets.The scholar-bureaucrats in the mid-Tang and Northern Song Dynasties were clear-headed amidst the praises of the prosperous age, and their eyes were wide open to identify the chaos.Literati are almost all historians, with a sense of history and a sense of the overall situation.The literati in the Northern Song Dynasty were particularly prominent.The slogan Fan Zhongyan shouted will be great in ten thousand years: "Worry about the world's worries first, and enjoy the world's joy later!" Ouyang Xiu, Wang Anshi, Sima Guang, and Su Dongpo, a series of dazzling names, have written outstanding chapters on American politics.Like Su Dongpo, he desperately seeks happiness for the common people. He travels tens of thousands of miles all his life, and never gives up.Su Dongpo pushed the ancient Chinese American politics to the extreme.At the same time, he is a great master who carries forward the past and ushers in the future at the peak of culture, and culture and American politics are perfectly combined in his hands.

As for this combination, we still have to ask: Why is there such a combination? Su Dongpo studied under Ouyang Xiu, Ouyang Xiu looked at Bai Juyi, and Bai Juyi stared closely at Du Fu... The back waves of the Yangtze River chased the front waves.This is the so-called inheritance of culture, values, and meaning of life. During the writing process of "Tasting Chinese Literati", some words that I have never seen before came to my writing almost automatically: cultural instinct, cultural gene, cultural gene chain, cultural gene map; survival gap, meaning layer of life, integrity of life ... I took the liberty to write it into the article, and it seems that I got the acquiescence of the readers.

In the long ancient society, there was a roughly stable "sky of value", covering the towering courts and remote villages.Temples of Confucius are everywhere.This is the particularity of Chinese civilization, which needs to be aroused for deep thinking.It is necessary to deconstruct this sky of value, but it is terrible and catastrophic to destroy it.Man is a creature that would have a hard time living without "meaning". "Meaning" is like a bug's tentacles. Once pulled out, it will wander around, "mingling in society in the dark." The solidification and nihilization of values ​​will lead to disaster.Western philosophers such as Dilthey, Cassirer, and Max Weber have already proved that the meaning of life is maintained by culture.Natural science pursues evidence, while culture pursues values ​​and the meaning of life.Culture is higher than individual survival.

To ordinary people, this sky of value may seem somewhat abstract, but to cultural elites like Su Shi or Ouyang Xiu, this sky is concrete and tangible.Cultural elites have good cultural intuition. In the final analysis, the so-called culture is to make abstract things concrete, make intangible things tangible, and make effective values ​​universal. The abstract function of culture stems directly from the abstraction of language. It seems easy to understand why the masters of language are often masters of the meaning of life. Confucius said: "Words without words will not go far." The "text" here is not embellishment, nor is it a beautiful word.It refers to the ability to use the abstract function of language to gain insight into life-social practice. Confucius, Laozi, Zhuangzi, and later Sakyamuni are all literati in a broad sense. Perhaps it can be said that the mainstream value system in ancient society was mainly provided by literati. The literati in the past dynasties have strong personalities and individual characteristics, which also paint their fate with a strong color of tragedy.Because ancient Chinese literati almost without exception had to go to the officialdom and career, so this kind of tragedy also has a particularity.Western writers are different.However, comparative studies on Chinese and Western literati at this level seem to be rare. It is an established pattern for ancient literati to go to officialdom. What is interesting is that "poet sages" like Du Fu had so many twists and turns in seeking official positions in Chang'an, and those who wrote poems and gifts for the powerful had never changed their inner values.What exactly is supporting Du Fu's "invariance"? Similar questions can be aimed at many literati. The literati insist on their individuality and the ideal of good government first, and the frustration and misfortune come later.Ancient literati are almost synonymous with frustration.If you don't stick to it, you won't be disappointed.Distinguish and analyze this historical phenomenon that has lasted for more than 2,500 years, and we cannot turn the result into the cause. As mentioned earlier, Confucius also encountered obstacles everywhere. Only great oriental philosophers like Lao Zhuang do not have direct contact with the process of history.They live elsewhere, as if they are guiding the progress of Chinese civilization with ease and ease. The wisdom of Lao and Zhuang is so far one of the top wisdom in the process of Chinese civilization.Such wisdom makes the passage of time irrelevant.Who can measure its end?Some people couldn't figure it out, and simply called Lao Tzu an alien... Since the Tang and Song Dynasties, the outstanding literati in ancient times have all carried out their thinking within the framework of Confucianism, Buddhism and Taoism.This remarkable cultural structure that can pass through history supports the immortality of poetry and prose, and also provides a global perspective with national characteristics for today's philosophical thinking. There is no literature without philosophy. Especially at the moment, it is imperative to gain a global perspective with national characteristics. The "survival paradox" of the ancient literati is that while he persisted in his individuality and political ideals, he also lost many historical opportunities.For example, Wang Anshi, Sima Guang, and Su Dongpo, three gentlemen and outstanding political figures, could not form a joint force and sing their own tunes.Wang Anshi reformed, Sima Guang would rather leave Bianjing to Luoyang to write his.If he stayed in the center and exchanged some of his own compromises for Wang Anshi's compromises, then the success of Xining's new law would increase, and Zhao Song's national fortune might be better.Looking at it today, Wang Anshi's "Suddenly Implementing New Laws" and Sima Guang's "Abolishing New Laws" both contain elements of literati spirit, and there is a distance from modern political wisdom.Duke Jing was nicknamed Niu Xianggong, and Duke Wen was nicknamed Sima Niu. The two bulls fought fiercely, and neither could pull them apart.However, Su Dongpo's frankness and frankness in the imperial court and his "sex intolerance" of the "unsuitable stomach" are both admirable and deplorable. A scheming political figure, how can he show his sharpness by his temper. An outstanding politician is both sharp and restrained, and his strategic vision and tactical steps are highly compatible. The political circle of the Northern Song Dynasty can be seen in the political arena of the ancient literati.The use of emotion means: there is room for emotion to do things.And the literati's impulsiveness will have an incalculable impact on the national psychology.When the logic of emotions and emotions runs smoothly, rationality shrinks its territory. This is of course related to "rule of man".Political rationality and system construction are carried out simultaneously, and it was impossible for ancient officials to achieve this step.When a literati becomes more and more like a literati, he is farther and farther away from the ideal politics he wants to pursue. Nevertheless, Confucian culture's responsibility for the world, people-oriented, literati as officials' high integrity, broad mind, and broad vision are still very precious national heritage.An official like Su Dongpo is a model of a good official in any era. The ignorance of the ancient literati is also problematic today.I don't know what the sage thinks in his heart. Anyway, the sage's words are easy to teach people to connect "benefit" with the villain, and "righteousness" with the gentleman.It doesn't matter that a gentleman is poor, but he still regards wealth as floating clouds.The sage spoke a lot of aphorisms in order to prevent the evil of human nature, but it obviously hindered the free extension of human nature.I humbly believe that there is a cover for human nature, blocking the sight of desires of later thinkers.Han Confucianism, Song Confucianism, and Ming and Qing emperors strengthened this cover.Desires are not identified and questioned, but lead to round after round of overflowing desires. Confucius despised women and set up great defenses between men and women, which had a bad and far-reaching influence.Even in the Tang Dynasty, even the wives of celebrities and dignitaries found it difficult to leave their names.It wasn't until Cao Xueqin uttered a shout that shocked the millennium: daughters are made of water, Zhong Shanchuan's spiritual energy, men with eyebrows are filthy things!The colorful Jinling skirt hairpins written by Cao Gong have illuminated thousands of years. I have read "The Analects of Confucius Today" by Mr. Li Zehou repeatedly, and I have benefited a lot.However, there are two levels of interest and desire, and Confucius' remarks are there, and it seems difficult to justify it no matter how hard the old man argues. The grand narrative of benevolence, righteousness and morality suppresses desire and utilitarianism for a long time, and literati are almost all Confucianists, who are influenced by themselves and then influence more people, expanding the coverage of the ruler's ideology.In the Song Dynasty, the commodity economy developed and civil society emerged, but the consciousness of literati who valued righteousness over profit was still very stubborn.The outstanding members of the scholar-bureaucrats can indeed achieve the goal of being a gentleman and solidifying poverty.Sima Guang and Wang Anshi, the two famous ministers, do not advocate consumption.Of course, they have a target: the luxury and lust of the bureaucracy.A bold and unrestrained character like Xin Qiji, a man from the north, is quite critical of the commodity trade in the big cities in the south.Su Dongpo sighed: "It's easy to be poor and humble, but difficult to live in wealth and honor." Dongpo repeatedly tossed between rich and poor, pushed the Chinese people's life experience to the extreme from several directions, and became the ultimate sound of life.The masters of culture have practiced themselves and always maintained an upward attitude, but their influence is multifaceted.In the vast folk, in all kinds of folk customs from north to south, words such as money, profit, and sex cannot be spoken openly.The most typical one is the frail scholar on the stage, he shyly replies when talking about money, shrinks his hands and feet when he looks close, and looks like a Tang monk when he raises his feet... The bloody wildness of Han, Tang and Song literati is gone, not to mention pre-Qin Xiongfeng .It seems that the imperial literati of the Ming and Qing Dynasties made folk art tricks, using morality to suppress human nature, and using bureaucratic tastes to lock the big and small stages: from content to form.The bureaucrats can indulge as much as they want, but they want to let the people of the world live in a well-regulated way. China's national quintessence is a mixed bag... In ancient society, strict precautions against utilitarianism may be one of the biggest veils.This makes it difficult for Chinese people to step into the modern society.The continuous high pressure on desire distorts and deforms desire. Sick people and sick life are revealed in Lu Xun's works.But history has inertia.Once upon a time, we experienced big pots of rice and egalitarianism, and we criticized private words in a flash, and farmers had to look around and worry about the city management committee when they sold a few onions and garlic sprouts.When the gate of the country was opened, the economy was running at a high speed, and the overall national strength was greatly improved, which attracted worldwide attention.At the same time, foreign ideas that don't distinguish between good and bad are also flooding in, making it difficult to distinguish good from bad for a while.The pent-up desire rebounded strongly in the short term, and the word utilitarianism expanded in the tide of commodities, forming a new cover: value rationality was threatened by instrumental rationality.What's more: even instrumental rationality is shunned, giving way to the irrational dance of desire. The contraction and expansion of desires seem to be bad things. I suspect that the word "modern" is not used so frequently in other countries. The decibels of "modern" are too high, and "traditional" will be depressed.People who always call modernity give people the impression that they are afraid that tradition will hold them back, and they will want to abandon it and ignore it.Guys who go to extremes regard it as fashionable to forget their ancestors... Modernity and tradition should not present a situation of binary division.What supports this split situation is the metaphysical thinking mode of separation of subject and object. But right now, cultural construction has been mentioned to the height of national strategy.We have good reason to cheer about it. In view of the above, there are three points worth noting: One is that the wisdom of literati communicates with political wisdom. In the so-called rule of literature and martial arts, literature is the most important thing.The text conveys the Tao, the text and the Tao are integrated, and the Tao is ideology and universal value.From Qu Yuan to Liang Qicao, literati served as scholars, served as tutors, compiled national history, and reformed laws, forming a magnificent tradition.The nobles, counselors, famous ministers, and famous ministers of all dynasties all have very good humanistic qualities.Like Zhang Liang, who integrated the wisdom of military school, Taoism, and Confucianism at a high level; like Zhuge Liang, who penetrated the wisdom of Confucianism, law, soldiers, Taoism, Mohism, etc. from the pre-Qin period. Everyone is bright. The second is that the reticence of the ancient literati is still lingering today. Some writers or scholars either seek profit in a kitsch way, or stick to the tower of ivory with a gesture of great rejection.This pursuit of profit and refusal are both variations of the ancients' not talking about profit in the present. The former tends to slip into vulgarity and make strange noises, while the latter may tend to talk to itself, turning pride into pride itself, losing the author's and A valuable zone of tension between worlds.A rich heart always points to the world.The so-called turn your back on the world and face yourself. The third is that the situation of the ancient literati going to the officialdom is more complicated. The literati tended to be popular;A literati is sensitive, romantic, and has a lot of fun. Anyway, he has plenty of places to go.When the officialdom is filthy, he will go to the countryside, and if the personnel affairs are chaotic, he will become a hermit.The so-called most affectionate and most sexual people are also often vulnerable, like Ouyang Xiu who is easily hurt, and Wang Anshi who is introverted.Literati live toward truth, goodness and beauty, and toward political idealism. They not only made great achievements, but also built a psychological defense line of "nobility" that means self-protection. The legacy of these two aspects needs to be cleaned up.Noble, fragile, whining, taunting, lip-smacking...all have historical inertia. What moved the literati of all ages was his transcendence of taking over the world: surpassing the powerful class to which he belonged, and turning his deep concern to the suffering common people.There are many examples, worthy of special study.Outstanding literati are indomitable and bloody men who do not trade beliefs, principles, and personalities. They are mirrors that reveal the faces of politicians, villains, and philistines.There are prerequisites for literati to be frustrated. The widely circulated phrase "frustrated literati" must be re-examined.The frustration of outstanding literati directly leads to the opening of the living realm, the strengthening of life, and the display of aesthetic feeling.Many literati in ancient times would be proud if they made a little concession to the king or dignitaries.However, he was stubborn. He was exiled, tortured, implicated his family, and even his head was splattered with blood seven feet away. He did not change his ambition.Frustrated literati do not lose faith.This is a very precious character in the long river of history.In ancient and modern officialdom, the absence of humanistic cultivation is unimaginable: the wind of filth will flow unimpeded. 2 In the field of aesthetics, the contribution of ancient literati cannot be overstated.And this "how to say" has yet to be deepened and refined.In the global situation where cultures and civilizations collide, our aesthetic traditions need to look back and weigh again.This article is limited to talk about a little feeling. "There are three hundred in the "Poetry", in a word, thinking is innocent." Thinking is the thinking of men and women in the folk.The famous phrase of Confucius set the tone for folk things.Later generations of literati almost all borrowed from the folk to absorb various essences from the folk.Qu Yuan may not respect Confucius, but his works are closely related to the land of Jingchu, and they also have multiple guidelines for literati.Confucius, Laozi, Zhuangzi, and Quzi have cultivated later generations of literati in the form of "literature", and the source flows from north to south, east to west, and draws the human geography of China. This human geography has particularity and uniqueness. Chinese characters are ambiguous and flexible, and their "memory" is difficult to measure, and they can appeal to aesthetic intuition.The lack of logical thinking makes room for aesthetic intuition. However, in modern times, especially in the present age, the logical thinking of Chinese people is relatively developed.This shows that people who grew up in Chinese can also learn mathematics, physics and chemistry well, and can engage in scientific research and economics.Chinese was once inferior and criticized for only a few decades, just a moment in history.It is an indisputable fact that Chinese is on the rise now, and the popularity of Chinese around the world does not need to be elaborated. The values ​​contained in Chinese are being exported to other countries in various ways, and the "trade deficit" of values ​​is expected to be reversed. Chinese art is one of the core values ​​of Chinese civilization. Qu Yuan could not serve the state of Chu, so his vitality turned to the art of language, a troubadour, a poet of bitter song, and he lived with the art of language until death.Du Fu was in misery for half his life and was displaced, but he wrote poems almost every day and lived firmly in Chinese art.Su Shi went out of Sichuan, Lu You entered Sichuan, traveled thousands of miles in boats and cars, and wrote poems almost every day.What is writing for?Is it just to decompress and let go of the burden of life? There is an element of decompression in the original impulse of writing, but more, it is obviously to add luster to life. Art gives insight into life.Art displays all the links of existence and the various states of life, giving shape to all emotions, and giving shape to the realm of existence and the realm of life. The original impulses of Chinese and foreign artists, ancient and modern, are highly consistent. "The emperor's second year is in autumn, and it is auspicious in the first month of August. Du Zi will march north, and ask his family in Cangmang..." The first few lines of Du Fu's long poem "Northern Expedition" are breathtaking.Cangmang asked the family, the realm it brings out is majestic and majestic. What kind of brush can describe and what instrument can accurately measure the loess plateau in Shaanxi?A paintbrush or a lens can almost show a bit of verve, but the instrument is useless. "Because of human nature, good sentences are delayed, and the words are not surprising." This is Du Fu's own situation.He also described Li Bai: "Writing the pen to shock the wind and rain, writing to weep the ghosts and gods." People in the Song Dynasty described Dongpo's poems as "like the wind, sea and rain." To describe Liu Yong, they said: "Erba Jiao Niang held a red tooth board and sang 'The Wind and Moon on the Willow Bank'." Li Yu's love, hate, sorrow, sorrow, Liu Yong's wandering love, Li Qingzhao's light and deep sorrow... The same word of sorrow, different subtle shapes, bring out the characteristics of their own destiny.And these are the basic emotions of human beings. Chinese poets give them permanent shapes, exuding a strong atmosphere of Chinese civilization. "The lonely smoke in the desert is straight, and the sun is setting in the long river." "The spring breeze in February is like scissors." "Yun Wuxin comes out of the Xiu, and the birds know how to return when they are tired. The wood is full of glory, and the spring starts to flow..." "If you want to compare the West Lake to the West Lake, it is always appropriate to wipe it lightly and thickly." "The bright moon in Huainan is cold and the thousand mountains are cold, and there is no one to care about when I go back." "Hua Mingyue flies darkly in the mist, now it's good to go to Lang's side, put socks on the steps, carry gold-thread shoes..." "Lin Chong went to Liangshan on a snowy night." "The meaning is long and the jade is fragrant all day long." "Five-foot spears in a heroic and heroic manner, the summer sun shines on the military field at the beginning of the summer. The sons and daughters of the Chinese people are full of ambitions, and they don't like red clothes but arms." Hey, it's so beautiful! I'm just giving an example.It's just a drop in the ocean. How can foreigners not learn Chinese?I wish people all over the world could appreciate these quips. "The sound of chickens in Maodian month, the footsteps of Banqiao frost." "Withered vines, old trees, dark crows, small bridges and flowing water, people. Ancient roads, westerly winds and thin horses..." Beauty is finely crafted.Beauty is the display of differences in the most subtle states of life.The persistence of differences drives the diversification of social life. The intensity of aesthetics is the height of life and existence. So far, it seems not difficult for us to understand why the ancient literati were more able to "poem poor before working." The gap in survival often led to a strong rebound in vitality.After reading Lu Xun, we realized that the beautiful and hard diamond-like characters are the crystallization of long-term stress. The great literati in ancient times were almost all products of the gap in survival. The "gap" appears as a gap when the literati turn around and look at the gap.And scrutiny means: long-term and in-depth look, look at human affairs, look at nature, look at ghosts and gods. The "gap" is visible. Looking deeply, there is a transcendence and an upward life form.The premise of going deep is to be able to go deep, and self-cultivation is the key here: to cultivate the body of morality, the body of aesthetics, and the body of compassion.Take Bai Juyi as an example: he was a high-ranking official in the capital, but he could learn from Du Fu to look at the suffering people all over the world.How deeply he looked at the cold and dirty charcoal seller in the snowstorm. When the ancient literati wrote about their life experience, this experience can reach anyone and bring the intensity of life to anyone.And there is a prerequisite for the acquisition of outstanding art: to live with dedication.Only those who are dedicated to life "have" a gap in survival.Lu You's memory of Tang Wan for sixty years is a good example.Deep nostalgia comes from deep survival. None of the outstanding people in ancient and modern times lived a superficial life and lived with a smile on their faces. By the way: the superficial fast-food survival that has the characteristics of a virus and clamors to "entertain the world" is rapidly consuming itself.All we have to do in the future is to track the transfer of residual viruses.This situation is like the decline of "postmodernism" in the West, and the emergence of "new historicism". Kant said: "Beauty is pleasure without harm." Seeing a flower and a cloud makes people happy.This happiness has nothing to do with livelihood or utility. "You don't need to buy Qingfengmingyue." The fine arts that have been handed down for thousands of years have nothing to do with utilitarianism. The prosperity of Tang poetry is related to the selection of scholars by poetry in Tang Dynasty, and the prosperity of Song Ci is also related to the rule of literati in Song Dynasty.But it cannot be said that Li Dusuxin wrote poems to please the king.The autonomy and self-discipline of literature has at least started since the early days. Through Chu Ci, Sima Qian, Yuefu of the Han Dynasty, and Wei and Jin Dynasties, it has become a vast river of its own.Although there are flattering words that disturb the audience, they are not enough to shake Jiang He.Who is appreciating or imitating Li Du's "dry poems" written to the dignitaries? The autonomy of literature and art is the autonomy of aesthetics. Outstanding art seeks neither the power field nor market fashion for its essential basis.The ancient Chinese literati, when he was frustrated, he was proud: he got the meaning of human nature, the meaning of aesthetics, and the meaning of the good fortune of heaven and earth. "The article hates life." "Ask Ruping's achievements in life? Huangzhou, Huizhou, Danzhou." We cannot read that the Cao family is undefeated. Why does the survival gap produce classic works?To put it simply, it may be that the gap leads to endless thinking and intense emotion. The strong become stronger in adversity, rational and sensual, wild, and powerful propulsion erupts instantly, just like the fission of atoms.Cao Xueqin's inconceivable sensibility and perceptual power have been obtained in more than ten years of creative labor.Cao Xueqin becomes Cao Xueqin in writing, reproduces time and reconstructs time.How many sequels have been attracted by the residual draft of the Red Chamber, but the sequels all ended in failure.This is probably a metaphor thrown by God to the world, right? Only those with strong spirits have more spiritual memories.Cao Xueqin is a strong person who benefits the weak: the food and use in the book are also permeated with lingering spiritual memories.And how did he return, reproduce, and reconstruct time?So far no one has been able to "resolve the taste". "Teaching nature from outside, gaining the source of heart." The law of art form is irregular, and she refuses to give her essence to human understanding just like nature. "Where nature turns its back on technology, the essence of nature happens to be hidden." Perhaps, where art is against the will, the essence of art is hidden. The essence of art and nature is like a black hole in the universe, which can only be speculated by the matter surrounding the black hole.Black holes themselves cannot be observed. For the top art of mankind, we can only hold piety.When we pay tribute to Du Fu, Victor Hugo, Hemingway or Cao Xueqin, we will find that this tribute is boundless, and no amount of "to" can be overstated.So we say: Oh, this is piety. Ancient Chinese literati are gifts from history.The Three Emperors and Five Emperors have long since disappeared, and the Tang and Song empires have also disappeared, but the nectar of traditional culture is always nectar.Who can say today: He lived a more exciting and richer life than the fairy Li Bai and the earth fairy Su Shi? Literary giants stand between heaven and earth... Aesthetic art strengthens sensibility and enhances perception.The two converge into the power of thinking, making the impulse of life move higher and stronger."Red Cliff Fu" before and after is very typical: Su Shi was demoted to Huangzhou, and changed into Su Dongpo, asking about the universe, about mountains and rivers, about history, about life and death, about finiteness and infinity... endless questioning, asking about the eternal masterpiece.This is also what the great British poet Eliot called "the perceptualization of thought". Art is the expression of the life impulse, and this expression intensifies the life impulse.There is no end to impulse, no end to art. Nietzsche said: Art is the stimulant of life. This means that art stimulates people's ability to feel life.However, stimulants may also become narcotics, so Heidegger took a decisive step forward and said in "The Origin of Artwork" that has shocked the world for decades: Art is to set truth into itself. Thinking and poetry are naturally connected.Art is the ultimate questioning of life and survival. All art forms are essentially poetry. "Full of merit, man dwells poetically on the earth." Aesthetics is not an embellishment of life, it is life itself. It is in this dimension that we can understand why people are beautiful even if they are extremely poor.The sad little girl who strikes a match in Andersen's works illuminates the fairy tale world of all human beings with a match.And the red-headed rope in Xi'er's hand, its aesthetic value and the pleasure it brings to a daughter from a poor family are obviously greater than the "short-term happiness" that a luxury car brings to some beautiful girls. Being locked in and locked up by the living modalities of "greedy", solidified by materialization, and calculated by this kind of thinking due to the abuse of calculating thinking, she is looking for bad luck, and the ability to feel life is irreversibly reduced to that of animals. Level, the quality of life is out of the question. The existential interpretation of "beautiful girls in luxury cars" is probably like this. We revisit Kant's famous saying: Beauty is pleasure without harm. By the way, I don't know how many times I have watched the dance drama "The White-haired Girl" performed by Ms. Mao Huifang from Shanghai.The snowflakes like music, the music like snowflakes, the pure gaze, the sadness, the anger, the loneliness in the mountains, the passionate dance soaked in the "basic emotions" of human beings - love, hate, love and hatred... It's so beautiful that people want to talk about it. If beauty is crafted carefully, then beauty is the product of "slowness".Work slowly and carefully.There is no good work in quantification.A good work is like a beautiful woman, which can be met but not sought after.In the field of artistic creation, strengthening the will is to kill the feeling. I guess a talented poet like Li Bai would not dare to say: write two good poems tomorrow... Speed ​​was originally a neutral term, but now it tends to be a derogatory term in terms of time.Almost everyone exclaimed: Time flies so fast, three to five years in a flash!Why is this kind of "psychological time" that coincides with each other formed?After thinking for a long time, I realized that it was because of the fast running of life that lost the details and lost the process.Calculating thinking divides life into several large pieces, cuts it across the board, sees through it at a glance, roughly erases the most precious fuzzy boundaries in life, speeds up time, and shortens life.Man is caught in a vicious circle of excitement and boredom, but he does not see it; he cannot change it by himself.The slowness of life is determined by the abundance of life, and vice versa.Such things as charm are strictly against impetuosity. To live toward stimulation is to live toward emptiness, this is the iron law. It is slow to "grow" richness; the non-desire side presents a colorful "dance of desire". Take childhood as an example. The childhood of our generation is very rich, with endless tricks to play, things are "hands-on", and there are infinite details.Because of this, childhood and youth are slow, as if they can't finish.A child who does not want to grow up is a child, and he has a child's sensory world and play world of self-sufficiency.How can there be any sensitive money, power, and desire in advance!There is no schoolbag as heavy as a mountain, no internet addiction like an octopus (squid) that sucks the soul: small round heads are nailed in front of the square display. The virtualization of life is the nihilization of life. The images of video games cancel each other out, causing amnesia: no vivid childhood present in middle age.Its equalization erases the differences of individuality and creates the sameness.What video games ultimately counteract is life's wildly varied sensitivities.Its basis is maintained on a small "addiction".An addiction is an addiction that sucks life away, and its expansion is the contraction of life. If you think about it carefully, by the 1970s and 1980s, how many living things could a normal child be sensitive to at the same time? Thousands of emotions, impressions, and feelings are conservative figures.当时也没人去数，去愚蠢，去消灭事物的“上手性”，去粗暴拆除日常生活的模糊边界。 物种的多样化，人的多样化，生活方式的多样化，决定性的字眼是“慢”，而不是快。 民间艺术，精英文化，生活意蕴，都是缓慢成形的，犹如自然界的所有奇观。我们不能只见光速之快而忽视宇宙演变之慢。人类蹦蹦跳跳，也许上帝常发笑呢。 快与慢的辩证法，我们应当学着思考。 中国的审美传统乃是几千年点点滴滴积聚而成，她的价值是恒定的，永载教科书。现当代社会的一大功绩，是让这些珍贵的、不可替代的东西集中亮相。下一步，则是让珍贵本身“显现”出她的珍贵，她的骄傲与荣光；显现出她对中国人的当下与未来的审美指引。 这个指引，是朝着传统与现代的缓冲地带，并最终消灭传统与现代的二元分割。传统在当下，赢得了在新的历史起点上重新成为传统的契机。 上述种种，或可归纳几条。 一是：审美的高度即生命的高度。审美观照就是生存观照。古代文人，与其说他们是先有生命体验然后才去谋求表达，不如说他们是在表达中抵达了生命体验。比如李煜，如果他不写那些词，他是没有相应的生命体验的。体验之为体验，有两个运动方向：强化和细化生命的感觉。类似李煜的遭遇的君王，像陈叔宝、孟昶、宋徽宗，他们之所以不能成为李煜，就因为他们不能抵达李煜的生命体验。而李煜的“抵达”的唯一途径，乃是杰出的汉语艺术。相似的遭遇，迥异的体验。没有汉语艺术对生命-生存运动的高度提纯，就没有李煜的具有唯一性的生命体验。“往事只堪哀，对景难排。秋风庭院藓侵阶，一行珠帘闲不卷，终日谁来？”没人来，但是词句向李煜蜂拥时，生命之体验来了。体验具有“上手性”，遭遇则是“现成在手”。狗之将屠也哀嚎，却嚎不出“亡国之君哀以思”。杜甫李白李清照曹雪芹，谁不是这样呢？海德格尔让欧美思想界为之折服的短语：“生存达乎语言”，也许包涵了这层意思。中国古代文人，在生存中达乎汉语。语言高于生存。或者说，生存是在语言的弹性框架内展开着的生存。这个现象学式的颠倒具有决定性的意义，使“回到事物本身”成为可能，使语言艺术与生命体验的二元分割有望消弥。 曹雪芹的生命体验，是经由来抵达的。“字字看来都是血，十年辛苦不寻常。”辛苦的人多的是，为何曹雪芹的辛苦不寻常？因为他把他笔下的每个汉字都变成了血滴。不写，哪有相应的生命体验？没有曹公持续而深入的回望，哪有那些多层次的、质感如此之强的红楼生活场景？而回望是在语言艺术的层面上才得以展开。 中国人是汉语思维者的同义语。 窃以为，世界性的“现象学运动”将在汉语中觅得一块理想的基地。 二是：循序渐进环环相扣的审美传统，对应着中国人的生活方式、生存姿态，互相影响，彼此融合。生活方式的形成，少则几百年，多则上千年。社会生活的连续性，类似自然界的连续性。切断这种连续性是不可能的，人类自断根系等于自掘坟墓。欲摧毁传统者只不过是小打小闹，或不无价值，或纯属胡闹。社会形态变了，价值体系却会传承，审美传统会穿越所有的社会形态。古代文人将生存各环节、各情态淋漓尽致展示出来，深入我们的民族集体潜意识，影响知性与感性。而清理这个潜意识的巨大工程尚未全面开工。为什么孔子庄子屈子唐宋诗词让我们感到如此亲切？这样的课题有待展开。苏东坡若能沿时光隧道出现在杭州或北京的街头，肯定会受到万民鼓掌欢呼的，他就像所有人的亲人。这究竟是咋回事儿呢？李白李煜在互联网上的相关词条有几百万…… 三是：中国历代文人提升了民族的感知能力，为各种微妙的场景、情绪、情感赋形，为“看不见”的人生气象、精神境界赋形。其抵达的广度与深度，肯定是世界第一。哪个小山村没有几个读书人呢？东坡贬海南办起了学校，海南就破天荒出了进士姜唐佐……如今，凡是在汉语中长大的人，无论他走到南极北极，辨认另一个中国人是非常容易的：一说水浒红楼三国西游，很快就心意相通笑逐颜开了。汉语艺术拢集着炎黄子孙。由此可见，从屈原到鲁迅的数以百计的杰出文人，也提升了中华民族的凝聚力。这个丰功伟绩，给我们留下了不可测量的阐释空间。 末一层，是审美艺术的非功利性。古人写诗文，主要是表达、提纯体验，使生存朝着更高，使生命朝着更强更丰富。如果艺术有一点规律的话，这可能就是规律。写诗不是冲着官场的，毋宁说，诗人写好诗反而有碍他的仕进。诗意自足，文学自律。自足与自律是慢慢形成的，根深导至叶茂，两千年强劲伸展。司马迁写《史记》，是背着汉武帝干的。陶渊明写给谁看呢？“奇文共欣赏，疑义相与析。”江西乡下的一群素心人，年复一年乐此不疲。非功利才有艺术精品，再如曹雪芹，写作使他全家受穷。支撑着曹公的，是不可遏止的生命冲动，审美冲动。词语的运行就是生命冲动。 审美也包括审丑。既然是“审美观照”，就得观照世间万物。 生存的巨大落差，反而使文豪们赢得审美之境。 近现代西方的科技进步，也是非功利的。第一流的科学家只对他的研究对象感兴趣，他要穷尽这对象，仅此而已。他不会轻易离开自己的实验室跑出去乱转、脑子里塞满功利。这个有利于基础研究的传统一直延续到今天。 艺术，生活，感觉层面的东西是至关重要的。陈嘉映先生近年的随笔集，书名叫《从感觉开始》。这里边饶有深意。现代人逻辑思维发达了，一个明显的结果却是：生活趋于概念化，世界趋于图像化（图像不是指影像），“可感”成了问题。从概念返回感觉的原发地带是艰难的。这里有双重遗忘：对感觉丰富性的遗忘，和对这种遗忘本身的遗忘。 老实说，局面不容乐观。 功利是意志层面的东西，而意志又有封杀感觉的功能。意志再变成强力意志、求意志的意志，感觉就会呈现一片萧条。为什么这些年重拍的几十种影视经典全都比原作差了一大截呢？凭借这个极端例子恰好可以展开我们的追问：对文化产业化的追问。 而古今的优秀作品都是能够激活感觉的。古人的作品，由于经受住了时间的检验，倒比当下的许多作品更能抵达今天，直指明天。唐诗宋词能传一万年吗？我们不禁要问：为何能传一万年？能传一万年的“这种感觉”究竟有哪些原发之物？ 从感觉开始的一个有效渠道是：从好作品开始，慢慢找回感觉的丰富性。仅凭一位李太白，那里有多少不可测量的伟大感觉啊。 感觉的丰富性永远是生活的丰富性的前提。 中国人的二十一世纪，该是找回感觉的世纪吧。 3 文人与自然的话题，不可能是个轻松的话题。 包括老庄在内的古代文人，无一例外是要赞美自然的。古人画山，山大人小，往往小到看不见；画鸟兽鱼虫，不见人影。“疏影横斜水清浅，暗香初度月黄昏。”诗中只有情绪，人是不露面的。人在不露中“露”着，露出他的谦逊，他的虔诚。诗人从来就不是“面对自然”，他在自然之中，是大自然的一个谦卑的成员。他赞美鲜花，赞美一条鱼的游动、一湾水的流走，并由此生发出许许多多。“花退残红青杏小，燕子飞时，绿水人家绕。枝上柳绵吹又少，天涯何处无芳草…” 东坡这个名篇，眼下有些人偏往性的方向读，一味猜想青杏小与王朝云的性瓜葛，是颇能代表一部分人的阅读心态的。 欲望太盛时，诗意要溜走。 花退残红、燕子飞、绿水人家绕，是“落实”到王朝云青杏般的小乳房么？如此解读东坡，哪里还有东坡。那些个扫来扫去的欲望之眼，看见的男人全是西门庆。 我写曹雪芹的时候有个担心：担心大学校园里的一些读者，可能难以分辨贾宝玉和西门庆的巨大差异。金钱观念入侵校园，欲望逻辑劫杀美感。贾宝玉的眼睛是丰富的，是审美之眼悲悯之眼愤怒之眼追问之眼，西门庆的眼睛则是标准的动物眼。动物是没有“环境”和境界的，它的环境只不过是身体的延伸。审美的广阔境域，乃是人类文明的结晶。一条狗它能欣赏大观园里的群芳诸艳吗？ 审美之眼是说：放出去的目光呈辐射状，多层次，多角度，深入而又细腻，有如春风吹拂，有如夏云峥嵘，有如秋高气爽，有如冬阳普照…… 这样的眼睛当然是修炼而成。 曹雪芹对“鲜花之为鲜花”是十分敏感的，梅花、菊花、梨花、荷花、牡丹花、芙蓉花、海棠花……“偷来梨蕊三分白，借得梅花一缕魂。”海棠诗社，菊花诗社，曹公笔下好诗如潮。“一从陶令评章后，千古高风说到今。”以清爽女儿的口吻写诗，曹雪芹是能够独步古今的。以美好女性的纷呈对应百花争艳，曹公做到了极致。于是才有花的凋零，才有女孩子的辛酸泪，才有命运的悲凉悲怆的曲线…… 自然与人事，在曹雪芹的眼中是高度融合的。“一年三百六十日，风刀霜剑严相逼。”说不清这是鲜花的感受还是林黛玉的感受，能说的是：二者俱贴切。 将人事化入自然的无限律动，中国古代的文人独步全球。 中国文人激活了中国山水，例子俯拾即是。李白的那双亮晶晶的眼睛甚至激活了月球上的环形山：联合国教科文组织以李白的名字为环形山命名。西方大诗人无此殊荣。关于月亮，李白造词之多也是全世界第一。 如果地球是个生命体的话，那么月亮也是有生命的。只是地球月亮的“生命形态”，无限高于人类的理解力。人类是进化过程中的人类，不可能具备“终极理解力”。茫茫宇宙之中，连地球、连太阳系都是沧海一粟，何况是人类。人类既伟大又渺小。人类的伟大除了一系列的创造之外，还在于：他是既知伟大又懂得渺小，懂得人类在宇宙中永远的微不足道。 对人类文明来说，月亮首先是月亮，然后才是月球。而后者的亘古荒凉的月貌倒指向宇宙的无穷神秘。美国有个宇航员，回到地球上就做了传教士。众所周知，霍金先生对宇宙大爆炸之后的匀称布局感到无比惊讶，他是倾向于相信上帝的。 人类已经为“宇宙式的傲慢”付出了沉重代价：灾难性气候频发，地球对栖息在她身上的这个物种越来越“不耐烦”了。 而中国古代文人对自然的审美姿态，则越来越成为普适性价值。审美姿态是说：人并未将自然处理成可支配的对象，不将自然视为“存货”。人与自然的这种和谐意味着：人不欺天，天不狂怒。天是几十亿年的那个天，人是几千年走过来的这个人，天人合一，天在上人在下，天为尊人为卑。人干蠢事儿，老天爷要惩罚的。 “自然”一词深藏着祖先智慧：是她本来所是的那个样子。是河流的天然弯曲使河流成为河流……自然有生命，这生命的法则掌握在她自己的手里，她不能被支配，被掌控。 “君不见黄河之水天上来，奔腾到海不复回。君不见高堂明镜悲白发，朝如青丝暮成雪…” 诗人的惊奇，诗人的意之所向，是永恒的自然之谜和时间之谜。并且，通过这一决定性的惊奇和意之所向，使人融入到自然与时间之中。惊奇的抛出与反弹是永恒的，如若不然，我们今天是领悟不到李白的惊奇的。 现象学的研究表明：对象之所是，取决于投向对象的目光。 古代文人投向自然的目光乃是谦卑的目光。他被神性与诗意所包裹，他对宇宙万物及其美妙循环保持着他的“源始惊奇”。他倾听，他环绕，他漫步，他打量，他欣赏，他惊叹。 然后他书写，为自然的千姿百态命名。如同他为人事心境之万千曲折命名。 “停车坐爱枫林晚，霜叶红于二月花。” “窗含西岭千秋雪，门泊东吴万里船。” 诗意不消耗能源。诗意是用之不竭的精神能源。 “帝子降兮北渚，目渺渺兮愁余。袅袅兮秋风，洞庭波兮木叶下。”屈原在汉语中抵达了他和湘夫人的邂逅。他与荆楚大地之神灵同在。我们阅读屈原，亦与神灵同在。 诗人是自然的温柔情人，不会去算计她、粗暴地掠夺她。 “细雨鱼儿出，微风燕子斜。” “气蒸云梦泽，波撼岳阳城！” “有情风万里卷潮来，无情送潮归…” 细腻的描绘，雄浑的气象，诗心乃是自然律动的同义语。这里没有主观的感受，细腻或雄浑也不是客观的东西。书写者与他的书写之物是融为一体的，没有对象化思维，没有主客观对立。 “意识总是某物的意识…” 胡塞尔晚年致力于“生活世界”的研究，海德格尔力倡“诗意栖居”，旨在扭转技术主义消费主义的泛滥对人类的严重伤害。西哲们的强劲之思，与中国文人的审美观照是相通的。 改造自然是必要的，改变自然是愚蠢的、危险的。 希望经济的全球化不要惹发灾难的全球化…… 近日看央视国际新闻，美国某地的气温竟然在几个小时内狂降二十八摄氏度。气候要杀人。英国的科学家们向来是很关注气候变化的，他们都晕头转向了，丈二金刚摸不着头脑。 可以确定的是自然的报复，难以确定是自然报复的方式、规模和速度。 今年中国南方的大雪灾令人费思量。 我熟悉的川西坝子，曾经是河流清澈繁星满天四季分明，眼下河也枯了水也脏了，星星也不大看得见了，隆冬就像阳春，苍蝇蚊子乱飞……有时候想念一条儿时的“丁冬”小溪，想得心疼。而城里的许多人年复一年变着花样打牌吃饭，谁在仰望天空、俯察大地？ “我家江水初发源，宦游直送江入海。” “瓦屋寒堆春后雪，峨眉翠扫雨余天。” 一千年前的苏轼是这么描绘的。 我们崇拜着苏轼，苏轼崇拜着陶渊明。 “少无适俗韵，性本爱丘山。误落尘网中，一去三十年。” 陶渊明是中国的头号乡村诗人，他带头激活了中国的乡村之美，杜甫、王维、苏轼、陆游、杨万里、江白石、辛弃疾…都是追随他的。千百年来的中国田园之美，五柳先生居头功。 是他向我们随意指点：房前屋后皆风景，一草一木也关情。 “结庐在人境，而无车马喧。问君何能尔？心远地自偏。” 心有多远？ 心之远在切近，在周遭： “狗吠深巷中，鸡鸣桑树巅。” “采菊东篱下，悠然见南山。” 陶渊明是将人事的曲折化入自然的典范。真，善，美，三位一体，纵情扑向自然的怀抱。 什么“隐逸诗人之宗”，真是奇谈！ 唐宋诗人这么追随他： “松下问童子，言师采药去。只在此山中，云深不知处。” “问君为何居此山，笑而不答身自闲…” “相看两不厌，唯有敬亭山。” “莫笑农家腊酒浑，丰年留客足鸡豚。山重水复疑无路，柳暗花明又一村…” 中国的乡村布局就是审美布局。 而乡村之为乡村，乃是城市的参照。 乡野，乡土，乡村，这些简单的汉语词汇向我们诉说着多少美妙。我们多姿多彩的审美传统，穿越时光抵达今天，紧紧环绕着、包裹着这个“慧核”。城市有许多美好，创造着财富和荣耀，却也制造欲望与无聊的大面积循环。城市制造欲望，乡野消解欲望。英国的乡村、法国的乡村、德国的乡村、俄罗斯的乡村……欧洲的城乡格局真令人心动。 这心动源于我们固有的审美内核：乡野。 伟大的五柳先生，深深懂得动植物的“朦胧的欣悦”： “平畴交远风，良苗亦怀新。” “众鸟欣有托，吾亦爱吾庐。” 辛弃疾则感叹：“一丘一壑亦风流。” 小路、田埂、拱桥、竹篱、野花、飞鸟、黄昏、夕阳、云彩、月亮、星星、炊烟、麦苗、稻浪、山峦、平原、草场、溪流、湖光、雨滴、雾霭、瑞雪、蛙声、鸡鸣、犬吠、人喧…… 哦，还有那漫山遍野的“嗡嗡嗡”的油菜花…… 所幸这些汉语中的美词，尚未退出我们的视野。 而中国的城镇化进程，显然不是为了消灭这些美词。 早在若干年前，费孝通先生就强烈呼吁：乡土中国应当成为城市中国的参照！ 中国的乡村不仅意味着十八亿亩耕地，她更是一个巨大的审美符号，民风民俗的符号。她以其自然辉映城市，以其朴拙挑剔城市，以其广阔的酥胸包容城市。 城市与乡野，相异而相融。 曾几何时相异凸显，城市对乡野翻着白眼斜眼。现在是到了再度融合的时候了，彼此青睐，城乡共荣：指向高空的钢筋水泥向辽阔而松软的、生机勃勃的大地致敬。 每一个长居都市的中国人都有类似体验：城里楼里待烦了，乡下走一遭，瞧瞧风是怎么吹的，草是怎么绿的，山峦是怎么起伏的，麦浪是如何翻滚的，乡亲是如何串门的…… “七八个星天外，两三点雨山前。稻花香里说丰年，听取蛙声一片。” 乡野之朴拙收缩欲望之膨胀。 欲海无边，回头是岸。 “悟已往之不谏，知来者之可追。实迷途其未远，觉今是而昨非！” 这一节就不用归纳了吧。 下面是本文的结束语。 古代文人有品读前辈的传统，历朝历