Chapter 27 Qinyuanchun·Snow

The scenery of the northern country is covered with ice for thousands of miles and snow drifts for thousands of miles. , but I am reckless; the river goes up and down, suddenly lost its torrent. , the original Chi wax figure, (original note) wants to be higher than the Tiangong test. , Look at the red dress wrapped in plain clothes, it is extraordinarily enchanting. , Attracting countless heroes to bow down. , a little less literary talent; Tang Zong Song Zu, a little less coquettish. , Genghis Khan only knows how to bend a bow and shoot a big eagle. , look at the present. Author's note

Originally refers to the plateau, that is, the Qin and Jin plateaus. This poem was first published in the January 1957 issue of "Poetry". Prior to this, in October 1945, Mao Zedong presented this poem to Liu Yazi in Chongqing, so it was copied and published by Chongqing's "Xinmin Daily Evening Magazine" on November 14, and then other newspapers successively reproduced it. But there are many corruptions, not enough evidence. No matter from which angle you look at it, "Qinyuanchun·Snow" can be said to be the masterpiece of Mao Zedong's poetry.This is by no means a personal opinion, but the consensus of almost all critics.

The writing background of this poem is unusual.In a letter to Liu Yazi, the author called this poem "when I first arrived in northern Shaanxi and saw heavy snow".The "Thirty-Seven Poems of Chairman Mao" published by People's Literature Publishing House and Cultural Relics Publishing House indicates that the writing time of this poem is February 1936, that is, the Red Army completed the 25,000-mile Long March and arrived in northern Shaanxi two months rear.At that time, the Central Committee of the Communist Party of China had just formulated the policy of establishing the anti-Japanese national united front. Mao Zedong personally led the Red Army to march eastward in January of that year, and arrived at Yuanjiagou, Qingjian County, northern Shaanxi, in early February, ten months before the Xi'an Incident. In the area, prepare to cross the Yellow River east to fight against Japan and expand the power of the Red Army.Chiang Kai-shek adhered to the policy of "to fight against the outside world, we must first secure the inside", and ordered the Central Army and Yan Xishan's troops to block it.Mao Zedong's "Qingpingle Liupan Mountain" (written in October 1935) said in his own note: "At present, it is Jiang who is fully focused on dealing with Jiang, not the Japanese." At that time, Mao Zedong was not the head of the CCP in name (at that time Zhang Wentian), but his ideas have already gained a dominant position in the party, and it is only a matter of time.Although Japan's aggression brought the Chinese nation to the most dangerous time, it objectively formed a constraint on Chiang Kai-shek's "rebellion" and made the growth and decline of the KMT and the Communist Party full of variables.China is poor, weak, chaotic and dangerous, but things will go against each other at extremes, and its destiny and prospects are also limitless.At that time, Mao Zedong was ambitious and in a very happy mood.He always liked snow.While living in Yuanjiagou, he encountered a rare heavy snowfall in his life—that is, the heavy snowfall he mentioned to Liu Yazi.Looking at the snow-capped Qin-Jin plateau, the ice-covered and snow-covered Great Wall, and the Jiuqu Yellow River suddenly lost its torrential flow, the situation and the scene are combined for a while, and I can’t help but feel happy. I am happy to write this poem, which is unique in ancient and modern times. do.

Mao Zedong's poetry writing has always been based on the prosperity of society.One of the reasons why this poem is so popular is that when you read it, you can feel the peak state that the author has reached when writing. "The scenery of the northern country is covered with ice for thousands of miles, and the snow is drifting for thousands of miles", together with the rafters and pens, it depicts the snow scene of the northern country in a panoramic manner.Mao Zedong has a "so big" personality, and he is more similar to Li Bai in terms of scene description.Li Bai prefers famous mountains and great rivers, and his favorite scenery is the Yellow River, the Yangtze River, the Lushan Waterfall, and the wind and waves on the Hengjiang River.Mao Zedong's favorite lines about snow are "Yanshan snowflakes are as big as a mat" (Li Bai), "Three million jade dragons after the battle, and the broken scales and armor are flying all over the sky" (Zhang Yuan), not "It's not like catkins are blown by the wind" (Xie Daoyun) Such a punch line.Looking at the snow in this poem is not admiring the snow in Luxue Temple, or even looking at the snow in Zhongnan Mountain, but looking up to the sky, overlooking the entire northern snow scene. "Looking inside and outside the Great Wall, there is nothing but turbulence; up and down the great river, it suddenly loses its turbulence." In a few words, I wrote a general and wonderful feeling of the country and mountains caused by the heavy snow all over the sky. "Great Wall" and "Great River" (Yellow River) in the words are not only grand natural images, but also symbols - echoing with natural and social images such as "Jiangshan", "Countless Heroes" and "Romantic People". The concept of the Chinese nation is closely linked together, which endows this poem with an extraordinary meaning. The wording of "Wei Yu" and "Sudden Loss" has a kind of tension-the heavy snow all over the sky changed the mountains and rivers in an instant, what kind of passion is in the poet's heart while ascending the magnificent world?This makes people think of the author's homonymic lyrics "I am so lonely, ask the vast land, who is in charge of the ups and downs?".The next three sentences-"Mountain dance silver snake, Yuan Chi wax figure, want to compete with Tiangong", write about snow.The static snow, but write a dynamic.The winding and rugged mountains, their edges, outlines, and directions are brighter in the snow, giving people a visual illusion—the feeling of flying silver snakes, which is similar to the imagination of "Three Millions Flying Jade Dragons". There are similarities in the same effect.The rolling hills, large and small, are covered with snow, which gives people another kind of visual illusion—the feeling of galloping elephants. Just imagine, there are countless white elephants galloping in the whole field. What a magnificent scene.The author's original wording was "wax elephant", which means Chenla (the name of the ancient country, that is, Cambodia). Later, the author adopted Zang Kejia's suggestion and changed it to "wax elephant", which was more stable against the "silver snake".The continuous snow mountains and the boundless snow fields make the sky look low. Conversely, the snow mountains and snow fields are taller than the sky. "I want to compare myself with the sky", this sentence has an anthropomorphic meaning, which reminds people of Mao Zedong's favorite saying in his life: "I am a monk holding an umbrella, and I am lawless." This lawlessness, or the spirit of comparing yourself with the sky, is revolutionary spirit.All in all, in the first piece of "Ode to Snow", the poet has managed to see thousands of miles away, and as far as his eyes can see, he is almost half of China.

By the way, "Qinyuanchun" is named after Dou Xian in the Eastern Han Dynasty who seized the garden of Princess Qinshui, and later generations wrote poems about it.Except for the change of head, the upper and lower parts have roughly the same structure. They have all the sentence patterns from three-character sentences to eight-character sentences. Rhyme) The momentum is full of ups and downs.Mao Zedong sang the snow in this word, and he used the three characters "Northern scenery" to stand out, and then used the word "Wang" to withstand the above, leading to four sentences, and the momentum went straight through the two rhymes, until "I want to compare with the God of Heaven". As far as "high", he has made a generous and incisive description of the snow scene in the Northland.Then use the word "xu" to withstand the above text, and write in three sentences to imagine the snow scene with the sun shining brightly after the sun clears: "On a sunny day, look at the red clothes and plain clothes, and it is extremely enchanting." The red sun and white snow complement each other, how wonderful it should be Gorgeous!There is a constant pulse of emotion at the head-changing point. It is a key point of the whole poem to capture the scenery of the first film with "the country is so beautiful", and then to "draw countless heroes to bow down" to the second film to express the feelings of history.Immediately afterwards, the word "cherish" resists the above text, leading to four sentences, and its momentum is straight through the two rhymes, until "only know how to bend the bow and shoot the big eagle", it can be described as a majestic circling.Its ideological content, some people say, is "to tick off five emperors with one stroke".This statement is not necessarily exact, but it is literary and a punchline.In the poem, Mao Zedong did comment on five emperors—the first emperor of Qin, Emperor Wu of the Han Dynasty, Emperor Taizong of Tang Dynasty, Emperor Taizu of Song Dynasty, and Genghis Khan.Calling it "hero" in the word is by no means ironic, it has a positive meaning.Take Qin Shihuang as an example. Although scholars in the past dynasties continued to scold him, Mao Zedong did not take it seriously: "I advise you to scold Qin Shihuang less, and discuss the burning of the pit." Destroying is just a blanket criticism. The derogatory terms such as "slightly lost", "slightly inferior", and "only aware" mean that these emperors have historical limitations.The discourse of this theory cannot be used in the Ci, but words such as "literary talent" and "coquettish" are used, as if they are talking about the literary accomplishment of these people.If you really want to talk about literary accomplishment, these people are actually on the same level: Emperor Wu of the Han Dynasty had "Autumn Wind Song", which is a famous piece; "Once you leave this place, the world will be your home" and so on, are famous sentences, and the "literary talents" of these two people are better.Song Taizu was a warrior, and he had a big poem about the sun and the moon. However, the two sentences "before leaving the sea and thousands of mountains and darkness, we have arrived in the sky and all the kingdoms of light" are still praised by people; Genghis Khan's "literary talent" is even worse, saying that he "only Knowing how to bend the bow and shoot the big eagle" is not wronged at all; Qin Shihuang burned books to bury Confucianism, it is not just a matter of "slightly losing literary talent".However, the "literary talent" and "coquettishness" here should be understood in a broad sense, that is, the contributions of these people are not in terms of ideology and culture.In short, reading this poem makes people think about it.When Mao Zedong faced such a mountain and snow scene, what kind of pride and grandeur aroused in his heart.He must have felt that we are doing something that no one has ever done before; and what we do will make a greater contribution to mankind; Brilliantly recorded in history.In other words, this is a feeling that transcends heaven and earth, sweeps through the ages, is generous and invincible.

Therefore, the author uses the three characters "all going" to stand up to the above text, and the end of the song is elegant - "Counting the romantic people, let's look at the present." An echo of "Countless Heroes", this ending is a matter of course.So, what is the relationship between "romantic person" and "countless heroes" in the word?Is it a parallel relationship, or an opposite relationship?Mao Zedong's self-note - "Snow: Anti-feudalism, criticizing a reactionary aspect of feudalism in the past two thousand years." (Page 70, Central Literature Publishing House, 1996) When he wrote this word, he also signed the title "Anti-feudal Qinyuan Spring".It was a labeling exercise, a tribute to those who criticized him for being "regal-minded".However, once a work is published, the right to interpret it is no longer exclusive to the author.To answer the questions raised above, we must also mention a Song poem, that is Su Shi's "Nian Nujiao Chibi Nostalgia".The beginning of Su's Ci is "the great river goes east, the waves wash away, and there are romantic figures through the ages".Here, we find the etymology of Mao Zedong's words—isn't the "countless heroes" in Mao's Ci the same as the "eternal romantic figure" in Su's Ci? "Little man" and "hero" are just synonymous terms.In other words, the "romantic characters" in Mao Ci are on the extension line of "countless heroes", and the relationship between them is not opposite, but progressive.Of course, progress also includes negation, and the negation of negation is also in line with dialectical logic.The word "all the way to go" in the word is very strong. Mao Zedong said: "Class struggle, some classes have won, and some classes have been eliminated. This is history, and this is the history of civilization for thousands of years." , Ready to Struggle") The three characters "all go" have profound meanings——Emperor Qin, Han Wu, Tang Zong, Song Zu, Genghis Khan, etc., although they are heroes, they are already in the past tense, and they are a few pages of history that have been turned over . "The people, and only the people, are the driving force behind the creation of world history" ("On the Coalition Government") Tang Dynasty Cen Can said in a poem: "In ancient times, no one has seen the green history, but now we can see the ancients." ") "Count the romantic figures, but also look at the present", also has such a meaning.

There have been different opinions on what the "romantic person" in the word refers to.The author refers to himself as "the proletariat", while commentators say "revolutionary heroes of today", or "heroes emerging from the masses of the contemporary people", or "outstanding figures of the proletariat", or "vanguard fighters of the proletariat", or "Leader of the Proletarian Revolution", and so on.In fact, this involves a problem in literary theory and poetic theory-the problem of lyric protagonists.In short, there are three situations for the lyric hero: one situation, the lyric hero is "I", that is, the author himself, for example, the lyric hero in Lu You's "The Hairpin Head Phoenix" is Lu You himself.In another case, the protagonist of the lyric is "non-self", that is, not the author himself, and this is the case for the endorsement in the poems. For example, the lyric protagonist of "Farewell to the Newly Married" is not Du Fu.In the third case, the protagonist of the lyric is "very me", which includes me but is not equal to me. For example, the "I" in Tang Wang Fanzhi's poem refers to me in general.The themes of Mao Zedong's poems are important, and most of his works reflect and express the greatest and most profound historical change in Chinese history, as well as the revolutionary pride in this historical change.Its lyrical protagonist is often a big self, a group, such as "the enemy is besieged by thousands of people, but I will not move" ("Xijiangyue · Jinggang Mountain"), "The order was issued yesterday, and a hundred thousand workers and peasants will go to Ji'an" ("Reduced "Mulan Flower·Guangchang Road"), "Millions of workers and peasants gathered enthusiastically, sweeping Jiangxi straight to Hunan and Hubei. A song of international elegy, Hurricane falls from the sky for me" ("Butterfly Love Flower·From Tingzhou to Changsha" ), etc., the "I" in the sentence is the big self that is combined with millions of workers and peasants. It is not equivalent to Mao Zedong himself, but it must include him.Similarly, the "romantic person" in this poem, that is, the contemporary hero, is not the same as Mao Zedong himself, but it must include him.There is a detail in the movie "The Founding Ceremony". Mao Zedong said to Cheng Qian in Zhongnanhai: "'Counting the romantic figures, and looking at the present' does not refer to someone Mao." Regardless of whether Mao Zedong said such words in real life, The veracity of this detail cannot be doubted.

This poem describes the grand scene, expresses the pride, and makes a lot of comments, which is inherently risky in art.Because arrogance tends to become rough, and bigness tends to become empty.But this poem does not give people a rough and empty feeling, on the contrary, readers feel full and brilliant.This is inseparable from the author's image thinking and artistic processing.The first piece of this poem runs freely on the large span of nature, geography, and space; the second piece freely gallops on the large span of society, history, and time.Originally, ancient emperors such as Qin Huang, Han Wu, and contemporary heroes were different from each other and were not rivals in competition. However, combining them in the poems filled the time span and blended the past and the present. As for the real opponents in reality, There is no word, which shows the atmosphere.Adding such graceful factors as "Looking at the red dress and plain wrapping, it is extraordinarily enchanting" and "The mountains and rivers are so charming", makes the whole poem have a romantic and charming posture in the bold and unrestrained, achieving a wonderful balance between bold and unrestrained and graceful.It can be said that after Su Shi's "Nian Nujiao Chibi Nostalgia", this poem has set up another monument for bold and unconstrained Ci.

"Qinyuanchun·Snow" is also unusual in that it is the first Mao Zedong poem published publicly, and it was published at a major turning point in history (during the Chongqing negotiations in 1945).The shock wave it caused when it was published is unmatched by any poem in ancient and modern times.Without talking about this aspect, the interpretation of this poem would not be complete. In August 1945, the situation changed so quickly that no one expected it: Japan announced its surrender.Chiang Kai-shek refused to allow the CCP troops to surrender.Mao Zedong declared that "tit for tat will fight for every inch of land".All-out civil war is imminent.The whole nation yearns for peace.Under the framework of the "Yalta Agreement", the United States, Britain, and the Soviet Union urged the Kuomintang and the Communist Party to negotiate peace out of their own interests.Chiang Kai-shek made a gesture and invited Mao Zedong one after another.Mao Zedong flew to Chongqing for negotiations on August 28 under the premise of making two-handed preparations.In addition to negotiating in Chongqing, Mao Zedong has been busy receiving guests.As early as the third day of Mao's arrival in Chongqing (August 30), Liu Yazi went to Zengjiayan to pay a visit, and presented a poem of seven rhythms, and asked Mao according to the old habits of Chinese literati. On October 7, when the agreement was about to be signed, Mao Zedong took a break from his busy schedule to respond.He didn't follow the rules of literati, but wrote this poem into "Qinyuanchun·Snow" for nearly ten years, and copied it to Liu Yazi.Mao Zedong copied this poem for Liu Yazi twice, and the last time it was inscribed in Liu Yazi's commemorative book.This approach is also unusual.Because Mao Zedong wrote poems, he never intended to publish them.Many years later, he wrote letters to Zang Kejia and others in the editorial department of "Poetry" and wrote six introductions for "People's Literature", expressing this meaning repeatedly.But at that time, Mao Zedong knew that Liu Yazi was preparing a joint exhibition of calligraphy and painting, and there would be a portrait painted by Yin Shoushi for Mao himself in the exhibition, but at such a time, he repeatedly copied "Qinyuanchun·Snow" to Liu Yazi is really meaningful.As soon as Mao Zedong returned to Yan'an, Liu Yazi's poems were published in "Xinhua Daily". Although Mao's original works were not seen, they whetted the appetite of readers.Immediately afterwards, Mao Ci was first disclosed by a private newspaper, "Xinmin Daily Evening" edited by Wu Zuguang.This move was like dropping a heavy bomb over the mountain city, which immediately caused a violent shock, and the shock wave quickly spread from Chongqing to the whole country.People of all kinds are either impressed by it or disgusted by it, which arouses many people's itch, and they are harmonious and special.According to statistics, in the first half of 1946 alone, there were more than 30 singing and lyrics published by major newspapers in Chongqing, forming a climax.The opposition put a label on this phrase - "with imperial thoughts".Is there any?It depends on how you say it.If it means "There is no Jade Emperor in the sky, and there is no Dragon King on the ground, I am the Jade Emperor and I am the Dragon King" ("Red Flag Ballad"), "We will be the masters of the world" ("Internationale"), who else? Say no! ——"We" and "I" are both the big self.If it is said that so-and-so wants to be the emperor, it is superficial talk, daydreaming.Those who admired this poem mistaken the writing time, and Ying Shuyan also said that there were some—for example, Guo Moruo speculated that the Yongxue in the poem meant that the northern kingdom was blocked by white forces, such as Emperor Qin, Han Wu, Tang Zong, Song Zu and even some "emperor-minded" heroes like Genghis Khan are still fighting for the country, blindly relying on force alone, but sooner or later they will disappear completely like ice and snow.This is the time when the words were written, and I mistakenly thought it was the time of the Chongqing negotiations.

At that time, most of the singers (such as Liu Yazi, Guo Moruo, etc.) were fascinated by this poem.Some people pointed out that through the dialogue of Chinese literati style, the value orientation or choice intention of the cultural people at that time has been revealed. A cultural and psychological foundation is laid.This opinion is profound. This poem is undoubtedly Mao Zedong's proud work.Among Mao Zedong's ink marks preserved today, there are more than ten manuscripts of "Qin Yuan Chun·Snow", which is unmatched by any other Mao Zedong's poems.On the wall of the Welcome Hall of the Great Hall of the People in Beijing, there is a collaboration between the masters of Chinese painting, Baoshi and Guan Shanyue. On the screen, the white snow and red sun reflect each other, the Great Wall of the plateau is majestic to each other, and the words "there are so many beautiful mountains and rivers" are broken into big characters , inscribed by Mao Zedong himself.This poetic painting of "Qinyuanchun·Snow" has become a national symbol and a national symbol.