Chapter 4 Five Ancients·Bang Yichang Pottery

Go and miss you deeply, but you will not come if you miss you. , There is more to mourn. , Xiangbinchun slipped back. , wandering around Nancheng Kuma. , Tears invade the double title. , Sunset Heng Yunxi. , It's unbelievable. , the chicken crowing at midnight. . , handshake bead socket up. , Fei Biao brushing the spirit account. , singing and leaning on the peaks. , Willing to try the long sword. , Beishan did all the grudges. , Andre resigned from the frivolity. . , Zhu Huachun is not proud. ? , Looking at Mingjing bleakly. , Jiang Tianshui flooded. The author of this poem transcribed it in a letter to Xiangsheng on June 25, 1915, and the accompanying letter was first published in the July 1990 edition of "Mao Zedong's Early Manuscripts" by Hunan People's Publishing House.

No matter how old you are in life, you will inevitably die. "Yesterday and evening, we were both human beings, but today we are recorded in ghosts" (Jin Tao Yuanming's "Elegy"), life and death are separated forever, which cannot but make the living feel sad.There are elegiac poems from generation to generation, and every chapter is sad.But Mao Zedong's elegy has an extra word "strong" in addition to "sorrow".Yi Changtao is not only the author's classmate, but also a like-minded friend. They are all progressive young people with patriotic thoughts and lofty aspirations.Therefore, while mourning Xueyou's untimely death, the poet endows this poem with a strong spirit of the times and ideological significance, and it is full of a strong momentum amidst grief.

The first sixteen sentences express condolences for the death of friends.Friends leave forever, never to return, the poet can not help but worry.The word "kill" is used to express the weight and degree of "sorrow".It was the time when "the classmate was young and in the prime of his life", the friend died suddenly, so the poet mourned and sighed for it, with endless sorrow, and made a great song.At the beginning of the book, I write about myself and my friend closely, instead of speculating and describing the scene of the friend's death from the perspective of the onlooker, and seeing the master from the guest, can make readers feel the author's sincere feelings for the friend.We can take a few famous elegy for comparison, such as the third part of "Elegy" by Lu Ji from Jin Dynasty: "I used to live in four private houses, but now I live in the neighbors of thousands of ghosts. I used to be a seven-foot body, but now I have become ashes and dust. Jin Yusu wears , the feathers are now weak. The muscles are full of ants, and the beauty is forever. In the tomb, the pines and cypresses are uneven. When the Ming utensils are useless, the tung chariot can’t run. I sit in the jade palace all my life, and return to Youdu Palace when I die. There is no expiration date underground, and I can know autumn and winter.” Although the imagination is rich and the words are beautiful, the reading It's kind of scary.But Mao Zedong's poem is not like this. He expresses his nostalgia for his deceased friend from what he saw with his eyes and what he thought in his heart.At the foot of Yuelu Mountain, on the shore of Xiangjiang River, the sound of geese is shrill, and the spring water is like green.The author Jokuma is alone, pursuing the old trace.This is similar to Wang Can of the Han Dynasty's "Ode to Siyou", which says, "Climb to the high view of the corner of the city, and suddenly look down to soar. Traveling in the forest, seeing the old people's old places", the fate is similar.The luxuriant grass in the corner of the city can be regarded as a real writing, and it is also an allusion in "Chu Songs Zhao Hermit".The author associates the luxuriant spring grass with Yi Changtao, the "king and grandson" who will never return. Tears well up and soak his cheeks.The poet lingered in the corner of the city until the sun went down, but he still couldn't bear to leave.The next sequence goes from day to night.Thinking by day, dreaming at night, the content of the dream is self-evident, the author writes like a rafter, using the five characters "Chicken Crowing at Midnight" to briefly describe the dream, the structure is open and closed, jumping ups and downs , It can be said that there is no need for needles, and sparseness can be quick.

Most of the following sixteen sentences from "Song of a Crowing Rooster" are blurred illusions of half-dream and half-awake.The rooster sang for the first time, and the poet walked endlessly on Donggao, suddenly seeing Yi Jun coming slowly, the two held hands, and looked at each other speechlessly, only tears filled their eyes.In a blink of an eye, it seems to see the mountains again, the foot of a good horse breaks down, and the figure of a friend disappears into the boundless sky and earth.Only the whirling wind blows the banners of the spiritual tent of the dead.This flying flying seems to indicate that the friend died before his ambition was rewarded, and his soul lingered in depression.The sky is like this, how can people be embarrassed?Kuangfu former comrades, love like brothers and sisters!Therefore, the poet is so worried that he can't relieve himself, leaning on the mountains and singing songs-long songs should be crying, chatting to vent the depression in his heart.This paragraph is quite like a slow motion in a movie, full of profound and long artistic conception.The lyric is sad but stronger, reflecting the unique mind of the poet.Its majestic grandeur is rarely seen in the elegy of the past dynasties. It breaks through the narrow circle of the previous poets who mourned the world, lamented the death of the poor, and expressed the feelings of a man of lofty ideals who help the world and save things. The phrase "singing and leaning on the peaks" is particularly strange. Singing songs-the voice is loud and echoes from thousands of mountains;What a spirit!From it, we can strongly feel the tall image of the lyrical protagonist, which is similar to that in the poem "Niannujiao·Kunlun" written by the poet later, "Ande relies on the sky to draw a sword" or "Seven Laws·Long March" poem "Wuling meanders and waves, Wumeng walks through the mud "Pill" is written in the same way, with a strong romanticism.

The following eight sentences of "Liezhangqing and Qian" further express the state of serving the country shared by myself and my friends.The poet wants to try the sharpness of the long sword with the green mountains, in order to shame the country.At this time, there were Japanese and other imperialists who were trying to subjugate China, and Yuan Shikai was conspiring to proclaim himself emperor, and he did not hesitate to betray the country.Everyone is responsible for the rise and fall of a country. How can we shirk such a heavy responsibility because of our humble status? The four sentences of "Donghai" are impassioned and express the grand ambition of Mao Zedong and his friends to take the world as their own responsibility.There is a short line here, and the next two sentences quickly turn back to mourning the deceased friend, using the allusion of high mountains and flowing water to describe the loss of a bosom friend.This paragraph points out that the relationship between myself and my deceased friend is not only a personal friendship, but also like-minded, and friendship is based on patriotism.Writing in this way deepens the theme of the whole poem.

The last eight sentences of the poem conclude the whole article and respond to the beginning.The death of a friend and the loss of a friend is of course the most sad.Observe the scenery with a sentimental mood, so the scenery is all sentimental. The sentence "Zhu Huachun is not prosperous" is set off by Jingyu, which is written in the same way as Li Shangyin's poem "The east wind is powerless and the flowers are remnant". "Looking at the Spirit" writes a memorial service like this. In front of the coffin of a friend, the wind blows the flags and flags, and the scene is bleak.The poet offers a friend with a glass of wine to express his sorrow; but the melancholy in his heart cannot be relieved by this, on the contrary, it is as endless as the water of the Yangtze River... This last sentence is based on the scenery, and it ends abruptly. Confused in the end!"

French naturalist and writer Buffon in the 18th century had a famous saying: style is man (speech at the admission ceremony held for his election as an academician of the French Academy of Sciences on August 25, 1753). The 19th century writer Zola also said in "On the Novel", "He (referring to the novelist Alphonse Daudet) wants to express all this. From then on, he himself becomes these characters, he lives in the environment of the work Go, melt his own personality with the personality of the people and things he wants to describe, and thus be passionate. Finally, he becomes one with his work, that is to say, he melts himself in the work, and at the same time Reborn in the work".The same can be said for Mao Zedong's poems.We can see "Mao Zedong" from any of his poems.In this poem, we see Mao Zedong's deep affection and profound friendship with his "classmates and youths" in his youth, and what we see is his concern for national events and his sense of historical mission for the nation.The emotion expressed in the poem is "Mao Zedong" style, and the way of expressing emotion is also "Mao Zedong" style, which is a combination of revolutionary realism and revolutionary romanticism.

The rhyme of this poem is also quite characteristic: 1. The whole poem turns to rhyme four times, and every turn of rhyme is also a point of transition of poetic level; the form and content are organically combined.2. The transition rhyme uses the Dingzhen format, with upper and lower knots, expressing the long, long and endless affection.3. In the sentence "Ziqi died early, Yaqin will never be seen again", the word "jue" does not rhyme, and it seems to have a sense of separation.This is rare in ancient poetry.But I'm afraid this is not negligence, but a deliberate break with the rhythm.The cut-off point of the qin is also the cut-off point of the rhyme. The content and form are just in harmony, but the disharmonious rhyme has a harmonious aesthetic effect.