Chapter 20 Qingpingle·Huichang

The east is about to dawn, Mo Daojun will go early. , the scenery here is unique. . , more lush. This poem was first published in the January 1957 issue of "Poetry". Wen Tianxiang of the Southern Song Dynasty said in "Collection of Du Poems Preface": "People in the past commented on Du's poems as the history of poetry. , but also.” Then, I think Mao Zedong’s poems are more enough to be called history.This is because Du Fu's poems are only "recording" objective historical materials as a third-party observer; while Mao Zedong's poems are straight from the heart as the creator of history, so they are even more historical. It is obvious that Yu Shi is more direct.The difference is that ordinary poets, as the "Yue Ji" said, their emotions change with the political situation. When the world is governed, their voices are peaceful and happy; when they are in troubled times, their voices are resentful and angry.Mao Zedong, on the other hand, is precisely because he is not a third-party recorded identity in the "world", but the direct creator, so the chaos of the world in him is more than enough to arouse the pride of the creation of the world.This formed his majestic revolutionary romanticism which is unattainable for people.This is certainly due to his personal literary accomplishment for the development of Chinese classical poetry, but it also stems from his mind as an inevitable leader of an era. "Qing Ping Le·Hui Chang" is such a typical movement.

To correctly understand this poem, the word "Huichang" specially marked here as the title should not be easily let go. We know that Chiang Kai-shek carried out five "encirclement and suppression" campaigns against the Central Soviet Area in the five years from 1930 to 1934.In the first, second, and third counter-campaigns against "encirclement and suppression", under the direct command of Mao Zedong, the First Front Army of the Red Army achieved brilliant victories that terrified the enemy.During the fourth campaign against "encirclement and suppression", although the Provisional Central Committee of the Communist Party of China had arrived in the Central Soviet Area and implemented a set of "left" adventurist lines that excluded Mao Zedong's leadership of the Red Army, they had not yet had time to fully implement them. Mao Zedong's military thinking, strategy and tactics had a profound influence on the Red Army, so the Red Army, under the command of Zhou Enlai and Zhu De, still won the counter-campaign against "encirclement and suppression".It was only during the fifth counter-campaign against "encirclement and suppression" that Wang Ming's "Left" adventurist line had gained complete dominance in the Red Army, completely negating Mao Zedong's correct strategic and tactical principles, and replacing them with the ones imported from the Soviet Union. The so-called "regular" war of the Communist Party of China replaced the people's war, adopted a military strategy of defense on all fronts, and emphasized positional warfare and fortress warfare to "defend the enemy outside the country's gate". "The comrades who opposed the movement wanted to act as the rulers of a big country, and the result was an unusually large movement—the 25,000-mile Long March" ("Strategic Issues in China's Revolutionary War").Apparently, the "big country" was meddling in the affairs of the Central Committee of the Communist Party of China at that time. After the failure of the fifth counter-campaign against "encirclement and suppression", Moscow even called to instruct the Communist Party of China to start from Ruijin and "find a safe place near Mongolia." see.On the contrary, the Red 22nd Division, which served as a cover in Huichang on the southern front of the Central Soviet Area, accepted the advice of Mao Zedong, who was guiding the work on the southern front at that time, and switched to guerrilla warfare and mobile warfare with guerrilla features, and achieved a gratifying victory.This poem was aimed at Wang Ming's "Left" adventurists, especially the "rulers of big countries" behind them.

The first sentence of the word "the east is about to dawn" is very imposing.According to Mao Zedong's theory, "Poems must think in images", so the "Orient" here does not refer to the actual location, but refers to China in the East. "Desire", hope. "Xiao", dawn.Hope for the dawn, which means that if China wants to win the revolution, the following words are not expressed literally, but the word "desire" leads to the method to be adopted.However, at this time, the "Left" adventurists adopted the revolutionary experience of the Soviet Union first, and regarded themselves as the boss, rejecting the Chinese revolutionary line created by Mao Zedong, so Mao Zedong ridiculed them: "It is too early to do so. "

Yes, the "jun" here refers to Mao Zedong himself. The English translator who translated Mao Zedong's poems in 1964 once asked Mao Zedong, who does "jun" refer to?Mao Zedong said that he went up the mountain before dawn, and the mountain was very high.But I thought Mao Zedong was just explaining the background when he wrote this word.According to the theory of modern structuralism, at most it can only be said that he constitutes a finished work of art in this way.If these two sentences are literally translated as, "It's almost dawn, I went to the mountain early in the morning, and there are already soldiers training on the mountain."In fact, it is true, but the words are dull and tasteless!Even so, it has yet to be elevated to an aesthetic object.Norman Ingarton, one of the representatives of contemporary phenomenology, believes that: a work is a pure intentional object, but it does not completely depend on the subject to exist; on the contrary, it is a composition of noumenon dominated by the outside world.That is to say, the work originates from the author's intention, but it also has a basis of continued existence in two spheres dominated by the outside world: one is the ideal concept or expressive content actualized in the author's sentence, the other is the composition The real text notation for the text. (Refer to Norman Ingarton's "Literary and Artistic Works") From the perspective of real text symbols, "Jun" has 23 interpretations in the "Chinese Dictionary", which are enough, but none of them are written. "I" explained.As a mutual proof, in terms of the author's habit of using words, Mao Zedong used the word "jun" in six places in his limited poems, which is quite a few, and none of them refers to himself.From the perspective of the content of the expression or the realized concept of ideals, as mentioned above, the battle on the southern front clearly shows the struggle between the two military lines, and in fact proves that the line Mao Zedong insisted on is correct.However, the correct one was suppressed. Under the action of this state of mind or subconsciousness, the character "Jun" is just like the character "Jun" in "Nian Nujiao·Questions and Answers for Birds" written by him in the autumn of 1965. The flavor of contempt for international opportunists.It seems to respect each other, but it is ironic when you savor it carefully.This is the aesthetic object that it manifests itself.Hirsch said in the book "The Purpose of Interpretation": "The work is just a lead to provide meaning, and the interpreter is the creator of meaning."

Professor Ye Jiaying, a master of Ci poetry in Canada, has excellent opinions on what kind of cultivation poets should have.She said: "A certain type of lyric poems in the East and the West have certain similar characteristics. One is that, as far as the author is concerned, apart from the conscious inner feelings described on the surface, they are more likely to reveal something that the author does not know. The essence of a certain mind and emotion consciously." "Secondly, as far as readers are concerned, in addition to pursuing the original intention of their conscious mind, it is also more important to find a certain kind of mind and emotion in the author's subconscious that can be revealed from the work. Get inspired by the essence of emotion.” “How a poet can elevate a work of art to an aesthetic object and make a creative interpretation of it is of course an important accomplishment that a poet should have. and means." ("Modern Views on Chinese Ci Studies") Mao Zedong once said that he "knows a little bit about the study of long and short sentences". Shallow and tasteless!This is another theoretical basis for my opinion that "jun" should not be interpreted as "I".

The word "Mo Dao" means complete negation.Don't think that you succeeded early, but in fact it is completely useless here, this is China.Therefore, after the poet denied the "Left" adventurism of "Jun Xing Zao", he then relatively put forward his own plan, which has been compared and tested in Huichang practice at this time, and proved to be completely effective: "Travel all over Qingshan." "Traveling all over the Qingshan" is Mao Zedong's guerrilla warfare instructing the Red 22nd Division at that time: "We must concentrate superior forces on the enemy's flanks to create favorable conditions, and first annihilate small groups of enemies. If the enemy does it all the way, we will not attack him. If the enemy does not hit his body, he will hit his tail; the enemy will hit him all the way in the side." It can be said that the words "traveling all over the green hills" are Mao Zedong's entire Chinese revolutionary war strategy. The most vivid and vivid summary of tactics.Lai Yi gave a very illustrative example in "Commissioner Mao Taught Us to Mobilize the Masses".He said that not long after Mao Zedong went to Jinggangshan, he once told everyone that there used to be a bandit leader named Zhu Deafzi on Jinggangshan. There is only one rule of thumb that stands firm, that is: don’t know how to fight, just know how to fight in circles. Now we have to change his sentence to say: you must know how to fight, and you must also know how to fight in circles.” Isn't "walking all over the green hills" the most vivid expression of "circling"?

"You are not old" is a bit conceited. "Book of Rites": "Seventy days old." When Mao Zedong wrote this poem, he was 41 years old, and this "person" naturally did not refer to himself.In fact, even this "old" is not the original meaning of the pragmatic term, but an extended interpretation of "useless".Here Mao Zedong secretly used Lian Po's allusion.In "A Journey to the West", Snow wrote about the impression of Mao Zedong's conversation when reviewing this period of history: "Mao Zedong's narrative has begun to break away from the category of 'personal history', and has been sublimated into a great movement. It is no longer 'I', but 'we'; it is no longer Mao Zedong, but the Red Army; it is no longer a subjective impression of personal experience, but a bystander who cares about the ups and downs of the collective destiny It is recorded in the objective historical data.” In fact, Mao Zedong wrote here that the two fronts of the north and the south were regarded as opposites, and this “person” at least represented the southern front.His conceit is just for the "jun": we are not useless, and we don't need you to point fingers.Mao Zedong made this issue clear enough in his "Strategic Issues in China's Revolutionary War" which he summarized in the following two years.But that is rational discourse, and this is just "words".So he went on to make a conclusion and said: "The scenery" is still "the best here". "Scenery" does not refer to natural scenery, but the "Southern Front" that had been victorious under his personal guidance at that time.

Yes, the victory in the southern front of the Central Soviet Area in the entire fifth counter-campaign against "encirclement and suppression" was small, but it was from the sharp contrast between these two fronts that Mao Zedong saw clearly what the correct line of China's revolutionary war was, " The scenery here is unique.” This meaning is great.The poet here is full of confidence and shouts "good", not only praising the victory of his line, but also proud of China's revolutionary integrity. In this poem, if the upper column is mainly about expressing emotions, then the lower column is mainly about describing scenery.Specifically, they are all about the victory of the Red 22nd Division on the southern front. "The peak outside the city of Huichang connects directly to the East Sea." This is the blueprint of the southern front, as an aftertaste of history. "Soldiers look at southern Guangdong, which is more lush." ​​This is more of a prospect for the future.The reason why Mao Zedong’s words do not follow the school of euphemism is because his words are still used to express aspirations, and they have always been used to express revolutionary ambitions. taste.Here, the "high peak" outside Huichang city, the "Bianlian" mountain range directly from the Eastern Sea, the "Southern Guangdong" that soldiers like to point to, and all the "luxuriant" places are all the "green mountains" of Shangyu, that is, the portrayal of Mao Zedong's entire guerrilla strategy. , is also the embodiment of the "landscape" he created a new situation.In Mao Zedong's mind, it was the entire Chinese battlefield, not just the "Southern Front". "Soldiers look to Nanyue", specifically we can read that this is the place where Mao Zedong broke through the enemy's fifth "encirclement and suppression".In fact, as a carrier of imagery, it has a much greater meaning than its literal meaning. It is strategic and route-oriented, not just regional.The "finger" in the lower column echoes the "good" in the upper column.If "good" is an affirmation of strategy, then the joy of "warrior hope" expresses the sincere support of the lower-level commanders and fighters.In fact, in the entire Chinese Revolutionary War, without the solidarity of the soldiers, it would have been impossible to achieve such a huge victory in liberating all of China.

The author of this lyric once noted: "In 1934, the situation was critical, preparing for the Long March, and the mood was depressed." However, the lyric is written so vigorously and with high fighting spirit, which is very romantic.However, the revolutionary romanticism expressed by Mao Zedong here is not the pretentious and uninhibited empty talk that was distorted later, but is based on a true understanding of his "warrior" and a scientific outlook based on practice.It's romantic, but true on a deeper level.The beauty of the poet is that he ends his whole poem with the support of the vast number of lower-level commanders and fighters, so that he does not need to "resent with anger" personally, and he does not even see the "depressed" he said. There are more than endless charm.