Chapter 49 Seven Laws Answering Friends

White clouds fly on Jiuyi Mountain, and the emperor's son rides the wind to descend to Cuiwei. , Hongxia ten thousand flowers and a hundred heavy clothes. , Long Island people's songs are moving poems. , Furong country is full of Zhaohui. This poem was first published in the December 1963 edition of "Chairman Mao's Poems" by People's Literature Publishing House. Among all Mao Zedong's poems and works, Qilu "Answer to Friends" is a poem with unique charm and charm.It is a song of friendship, a song of nostalgia, and a duet of reality and ideal. Most peoples in the world value friendship, and the Chinese seem to especially value friendship. Therefore, in classical Chinese poetry, poems expressing friendship account for a considerable proportion, forming a long-standing tradition.The ancient Chinese "Book of Rites" says that "the friendship between gentlemen is as light as water, and the friendship between villains is as sweet as wine."The earliest source of "friendship poetry" can be traced back to the "Book of Songs · Qin Feng · Wuyi": "It is said that there is no clothes, and I share the same robe with my son. Wang Yuxing master, repair my spear. I have the same hatred with my son." People who undress, share the same hatred.From wearing clothes to going to the enemy, the soldiers share weal and woe, and the word "paoze" has become synonymous with the friendship of future generations."Hand in Hand on the Riverside" is one of the earliest farewell poems in ancient my country. "It's hard for pedestrians to stay for a long time, and everyone expresses longing for each other." Later generations called "Heliang" the place of farewell.In the works of literati in the Han, Wei and Six Dynasties, the number of articles about friendship gradually increased. "Emotions are connected thousands of miles away, and the traces are stagnant. You love body, when will you come." This is Tao Yuanming's "Reply to Pang Joining the Army". "Don't say a bottle of wine, it will be difficult to hold it tomorrow. If you don't know your way in your dreams, how can you comfort lovesickness." This is Shen Yue's "Farewell to Fan Ancheng".Since the Tang and Song Dynasties, "Friendship Poems", like other poems on the theme, have become unique and brilliant in the Chinese classical poetry garden.That is to say, in terms of the Tang Dynasty, Li Bai's "Old Man West Citing the Yellow Crane Tower" ("Yellow Crane Tower Sends Meng Haoran's Guangling Tomb"), Wang Wei's "Wei City Morning Rain and Light Dust" ("Send Yuan Er Envoy Anxi"), Du Fu's "Farewell to death is swallowed, and life is always sad" ("Dream Li Bai Two Poems"), etc., these moving chapters eulogizing true friendship have echoed the hearts of readers of different generations and times for thousands of years. Heartstrings.From the perspective of poetic tradition, Mao Zedong's Qilu "Answer to Friends" is an inheritance of the tradition of friendship poetry in classical Chinese poetry, and it is also a creative development.

Hunan is the birthplace of Mao Zedong.Here he spent his student days of "just a classmate in his youth, in full bloom", and then devoted himself to and led the revolutionary struggle. The land that gave birth to him and raised him.Mao Zedong was not only a great revolutionary, but also an ordinary person who valued nostalgia and friendship.Therefore, when he receives poems and bamboos from friends in Hunan, he thinks about people when he sees poems and nostalgia for his hometown when he sees things.This kind of feeling, which belongs to him personally and can also arouse the resonance of many people, is embodied in the pen and ink, which has become the work of Qilu "Answering Friends".Among Mao Zedong's poems, there is only one titled "Answer to Friends", but there are Qilu "He Mr. Liu Yazi" and "Butterfly Love Flower Response to Li Shuyi" that express revolutionary friendship.From the writing of the friendship between friends to the sublimation to the praise of the entire revolutionary cause, this is what the three poems have in common in terms of artistic connotation.But the latter two both indicate the object of the answer, so there is a description of the specific situation of the object of the answer; while the former is generally called "answering friends", and the answer is a friend in Hunan.Therefore, this poem is not only based on the scenery and customs of Hunan, but also has a distinct local color, full of nostalgia and friendship, but it is not limited to specific personal affairs, and the pen and ink are very ethereal and general.If we say that "Chu Songs" is characterized by "writing the language of Chu, writing the voice of Chu, remembering the place of Chu, and naming things of Chu", full of romantic passion, flying and strange imagination, and describing colorful myths and legends, then we advocate Combining revolutionary realism and revolutionary romanticism, Mao Zedong's writing method not only inherited the tradition of Chinese classical poetry friendship poetry, but also inherited the elegance of Chu culture, including "Chu Songs".

The first and second couplets of "Response to Friends" are about the myths and legends about Ehuang and Nvying in Chu, but they get rid of the sad sentiment in ancient legends and show a magical and magnificent romanticism. art world.This is already a modern observation, transformation and recasting of ancient myths.Although the neck couplet and tail couplet of the poem also show flying fantasy and strong exaggeration, they focus more on the description of reality and the prospect of the future.This poem was written in 1961, when our country's national economy was in unprecedented difficulty due to natural and man-made disasters. "The waves in Dongting surged into the sky and the snow, and the songs of the people in Changdao moved the poems." Of course, we can see the contradiction between reality and ideals, but it also shows Mao Zedong's eager expectation for the people in his hometown to overcome difficulties, and Mao Zedong's desire to despise difficulties. A strong will to fight and win.In ancient times, Hunan was rich in hibiscus, and there is a sentence "autumn wind thousands of miles of hibiscus country" in "Autumn Suspension in the Xiangjiang River" written by Tan Yu of the Five Dynasties. Most people think that this is the source of "Furong country" in Mao Zedong's poem.But there is a poem in it: "Plucking hibiscus in the river, and the orchids are full of fragrant grass. Who do you want to leave behind? The thought is far away. I still look at the old hometown, and the long road is long. I live apart with one heart, and I am sad to die old. .” I thought that Mao Zedong, who was good at Chinese classical poetry, would not miss it.Therefore, the two lines of the poem "The dream I want to be because of is limited, and the sun shines in the country of Furong" not only embodies his nostalgia for his hometown and nostalgia, but also expresses his vision for the future of his hometown and even China as a whole.As mentioned earlier, this poem is a creative development of the tradition of friendship poetry in classical poetry.It is precisely because the vision of the ancients was limited when they wrote about friendship, and some of the layouts were relatively narrow, often limited to the personal world, such as Xing Fang's "Thousands of tears on the chest are like billows, because you don't meet the king, you can't play it. When can you enjoy it?" Crying together, the two meet each other but become happy" ("Send Wu Jianwei"), such as Gu Qiyuan's "meeting with the king, double blind date, sudden and long separation, even more sorrowful. Singing this night in Yanshi, I don't know To whom does the liver and gallbladder go" ("Send Gu Kao Fu Nan Huan"), etc., are all like this.Comparing Mao Zedong's "Answer to a Friend" with them, we can not only see the difference between the old and the new, the difference between the ancient and the modern, but also the lofty realm of Mao Zedong's works.

Mao Zedong's poem is a typical work in art that reflects the size and details, and points and faces.Freehand brushwork and meticulous brushwork, generalization and exquisiteness, roughness and delicacy, are two different techniques of artistic image modeling, especially in poetry creation.Mao Zedong, who was good at the dialectics of thought, also paid attention to the dialectics of art.Mao Zedong's poems include this Qilu. The overall artistic style of Mao Zedong is to inherit the bold and unconstrained style represented by Su and Xin in the Song Dynasty and make creative development.However, from the point of view of poetic art, if you blindly be bold and magnificent, you will often have nothing to rely on, big and useless, and those who are inferior will fall into the path of fierce clamor; The realm of obscurity and paleness.Only by taking the small from the big and the small, and seeing the big from the small, can it be big but not empty, small but not flat, and complement each other and bring out the best in each other.Therefore, Mao Zedong not only often uses his vigorous brushwork to express large realms (big scenes), but also pays attention to painting small realms (small scenes) with finer brush and ink.Only with such a combination of large and small, large and small, can we create an artistic whole that is bold and full of emotion.

The beginning of "Answering Friends" is the contrast of size and detail. "Jiuyi Mountain", also known as "Jiuyi Mountain", also known as "Cangwu Mountain", is sixty miles south of Ningyuan County, Hunan Province.According to "Historical Records: The Book of the Five Emperors", Shun "collapsed in the field of Cangwu and was buried in Jiuyi in the south of the Yangtze River".Emperor Yao's two daughters, Ehuang and Nvying, were the concubines of Shun. When Shun died in Cangwu, the second concubine chased after him. Both of them threw themselves into the water and died. "White clouds fly on Jiuyi Mountain, and the emperor rides the wind to descend to the emerald green." The first sentence of the first couplet is a summary of the general scene and the background; the second sentence features "Emperor", which is the small scene and the foreground.Mottled bamboo is also known as Xiangfei bamboo. Zhang Hua's "Natural History" in Jin Dynasty said: "The emperor collapsed, the second concubine cried, and the bamboo was swung with tears, and the bamboo was all spotted." Clothes are like thousands of clouds overlapping, this image is similar to the "clothes of cloud thinking" in Li Bai's "Qing Ping Diao".The sentence "a branch of mottled bamboo with a thousand tears" in the couplet is compared to the couplet "a thousand flowers of red clouds and a hundred heavy clothes", the former has a small scene while the latter has a large scene.There is not only the connotative difference between the present and the past represented by symbols, but also the artistic ratio contained in the imagery.The same is true for neck couplets. In Li Pin's "Hukou Sending Friends Off" in the Tang Dynasty, there is a sentence "go to Yanyuan, rush to Yunmengxue", and the "snow" in it is written in fact.Su Shi's "Nian Nujiao Chibi Nostalgia" has the words "the rocks pierced through the sky, the stormy waves hit the shore, and a thousand piles of snow were rolled up", in which "snow" is a metaphor.And "the waves of Dongting are surging with snow", which means that the waves of Dongting Lake are like snow waves hitting the sky, which is both a symbol and a metaphor.In Tang Dynasty Han Hong's "Send Zheng Yuanwai" has the chants of "musicians compete to sing the poems in the scroll", and Bai Juyi's "Jianglou Early Autumn" has the words "Jiangshan people are good at poetry".However, "Long Island People's Songs Move Earth Poems", it is written that Changsha people wrote and sang earth-shattering poems with their own labor and fighting.Compared with ancient and modern times, its realm is of course far wider and has a strong sense of the times.

In the whole poem, the two sentences of the neck couplet are originally grand scenes, but when analyzed in detail, "Dongting" and "Long Island" are just two limited planes or three-dimensional, compared with the infinite "Lian Tianxue" and "Moving Earth Poetry" , which is also the fusion of the respective sizes in the sentence.The tail couplet also expresses the artistic dialectics of size comparison. "I" is the individual image of the poet himself as the protagonist of the lyric, while "Liaokuo" means "vast", "Furong Country" refers to Hunan, and "Dream Liaokuo" and "Furong "The country is full of morning glory" is the broader world imagined and anticipated by the poet, and at the same time, it forms a complete picture of the front and back with the "white clouds flying on the Jiuyi Mountain" in the opening sentence.In short, the whole poem has both large and small scenes, which complement each other and complement each other.Big because of its smallness, full of real feeling, small because of its bigness, it is full of energy, avoiding the disadvantages of monotony and flatness, and has a rich and colorful appearance.

Laws are rules and regulations.Among the many styles of Chinese classical poetry, regulated poetry is the most rigorous one.It can limit those writers who lack life experience and poetic talent, and those writers can often only write well-regulated but lifeless poems; You can still fly in the restricted world.Someone once made a metaphor, thinking that Qilu is like opening a strong bow with seven sticks. There are not too many people who can draw such a strong bow in ancient and modern times, which shows the difficulty of writing poetry in rhythm.In all Mao Zedong's poems, the seven rhythms accounted for a considerable proportion, which shows his extraordinary artistic skills.Generally speaking, the first couplet of regulated poems should be abrupt and extraordinary, the mandibular couplet should be peaceful and stretched, the neck couplet should be lofty and straight, and the last couplet should have a long aftertaste.In this way, there are twists and turns in the scale, and the ability to make intricate changes is the best, so that the whole poem can be rigorous and varied.Mao Zedong's seven-rhythm "Answer to a Friend" can let readers appreciate the difficult art of rhythmic poetry.

The art of poetry not only has its general rules, but also lies in the author's clever use. The characteristics of the artistic structure of "Answering Friends" can be said to be full of dynamics, varied and yet extremely rigorous.From the perspective of emotional aesthetics, Mao Zedong's emotional state is a strong and dynamic emotional state.As the externalization of his personality and emotion, his poems are also full of dynamic aesthetics.He not only likes "turning beauty into charm", that is, making dynamic performances of static things, such as "mountains, overwhelming seas and rivers and huge waves" in "Three Poems of Sixteen Characters", such as "Qinyuanchun·Snow" "Mountain Dance Silver Snake, Yuan Chi Wax Figure"; for dynamic things, he is better at expressing the beauty of flow and even movement. The artistic structure of "Answering Friends" is a dynamic and varied structure.At the beginning of the first couplet, the two shots of "upward" and "downward" are used, and the two verbs of "fly" and "down" are used to describe ancient myths and legends. It can be said to be abrupt and lofty, giving people a strong aesthetic impression.The maxillary couplet follows closely the first couplet's "emperor" and makes a dynamic description. One sentence emphasizes "bamboo" and one sentence emphasizes "clothes". The former symbolizes the past, and the latter is a metaphor for today. Slowly, time and space are far away.The neck couplet expresses a word and breaks new ground, from virtual imitation to actual writing, from myth to reality, in which "Yong" and "Song" are written in pairs, and the use of verbs is quite ingenious and skillful.The "I want to cause a dream of Wuyue" in the last couplet is transformed from Li Bai's poem "I want to cause a dream of Wuyue", and the realm is more open.The "dream" in it is of course a verb of the noun, but at the same time it concludes the full text from the subjective lyrical clue, because the previous lyricism can be said to be the poet's "dream"-the result of the imagination of living in Beijing and longing for his hometown.And "Furong country is full of morning glory" not only concludes the whole poem from the objective description clues, because the previous descriptions are all the scenery and scenes of Hunan, that is, Furong country, but also closely follows the title of the poem, which makes readers think outside the topic. The image is lofty and the wind is swaying.In this way, the structure of the whole poem has both the fun of flying and the beauty of rigor, well-regulated and well-organized.

A song of sincere friendship, a song of affectionate nostalgia, an unharmonious duet between ideal and reality, a new flower blooming from the ancient tree of poetry in the present age.This is Mao Zedong's Qilu "Answer to Friends".