Interpretation of the Seven Laws of the Long March

The Seven Laws Long March (19351October): The Red Army is not afraid of the expedition, and Qianshan has only leisure. Wuling makes waves, and Wumeng takes mud pills. Jinsha River is warm in the clouds and cliffs, and Dadu Bridge is cold with the cross rail. I'm glad to see that Minshan Mountain is covered with snow and stretches for miles. Our soldiers crossed it and showed a bright smile.

place name

The Long March is a masterpiece, which we have all read in school textbooks. The only feat in the 5,000-year history of the Long March was summarized in 56 words. Although the Long March is actually an escape, we don't have to be too superficial. When we look at things, we always hide snobbery and utilitarianism in front of us, just like myopia can't take off our glasses. We might as well indulge ourselves and take a picture of the primitive vulgar world with an aesthetic eye-that is equivalent to a pair of binoculars, because the aesthetic package contains distance. Therefore, although this is an escape, as long as we are not blind, we can see that it escaped so tragically and spiritually. I heard that a foreign scholar came to China to give a lecture. First, he drew two curves on the blackboard. One is obvious to all, and that is the border of China. The other one dumbfounded everyone. The scholar said that this is the route of the Long March; He thinks the Long March is the best example of China. I'm just glad I'm not here, I can't figure out the route of the Long March, and I'm afraid I'll die of shame. In the ears of China people in the twentieth century, China people talked but farted, and no one listened; Foreigners fart more than talk, and everyone rushes to smell it. Although I can't tell you the name of the scholar, everyone should always listen to me when I mention that he is a foreigner. Mao himself is very able to look at practical things from an aesthetic perspective. As he ran, he couldn't help taking a poetic photo. In such a difficult situation, he thought Minshan was laughing-of course, we can't be deaf, we should hear Mao himself snickering behind Minshan. In the second half of the 20th century, Mao's speech was particularly eloquent. We have been "good students of Chairman Mao" for many years, so it's no harm to do it again and learn his aesthetic style.

The theme of this poem is great. However, the importance of theme does not guarantee the greatness of art, although it may assist great art. The major theme is only the "midwife" of great art, not the "producer"-mother. Great art requires a mother's arduous gestation and painful delivery, which the midwife has never paid; Midwives have no right to share the glory and comfort of being mothers. In this place, we can't snob, because the position of obstetrician is flattering the beauty of the baby; Needless to say, there is no need to flatter the baby because of the mother's position.

There is a flaw in this poem. In the middle of the poem, four place names are juxtaposed together, just like a whole team during military training. People with bright ears can hear four place names and shout "one, two, three, four"-this arrangement is too dull. King Robin loved to fight with numbers and was ridiculed as a "doctor"; Mao can also be a geography teacher, because he writes like a map. The ancients had a lot of discussions about the use of place names in poems, such as whether the place names can be used for nothing, because the place names used in many poems are completely opposite to the actual geography and cannot be checked by maps; It seems that when people in the Ming and Qing dynasties studied Tang poetry, there was a school that loved to embed beautiful place names that were easy to enter poetry into the whole page as a poetry formula. I didn't make a detailed investigation. I wonder if they use the attitude of "I note six classics" to note mountain classics and water classics in their poems. One of the concerns of predecessors about place names is that they are required to be used without making people feel piled up. Mao's four sentences and four places, plus "Minshan", travel to five mountains in one poem. Li Bai used five place names in four sentences of Yuege on Mount Emei, but the uneven level was not noticed when reading a travel manual, so it has been appreciated since ancient times. This poem can be recited by children, so let's quote it and compare it with Mao: "Emei Mountain falls on the Pingqiang River in the autumn of half a month. Qingxi went to the Three Gorges at night, and the four gentlemen did not see Yuzhou. " Li Bai skillfully embedded several place names in some relationships; The moon on Mount Emei, the shadow will fall into the river, so the "flat cavity" will be hooked; He took a boat from "Qingxi" to "Three Gorges", and they never left, and they were close. The "Three Gorges" peak is high and the sky is narrow, so the moon is invisible. He couldn't help but miss it, so he ran downstream to "Yuzhou" in this nostalgia. By the way, he has a reasonable network of contacts, in which the appearance of every place name is inevitable, unlike Cheng's "killing halfway". Place names are not strangers in Lu Yu, but you called me and led me around, as if a group of friends were going out for a short trip. This broke the stereotype. When painters paint many people, they also ask them to talk to each other and cooperate with each other in a certain scene. This painting is smart and natural, unlike the mechanical arrangement of military parade; This truth is related to poetry writing. Holding the photos of Mao and Li Bai, we can't help but feel that Mao's handwriting is too neatly folded.

When Mao wrote the Long March, he didn't pay attention to the experience of the ancients in this respect. He only piled boxes into the warehouse and never tried to decorate the living room with furniture. His four place names seem to be told in the order of marching, but this relationship is not specified in the article, nor does it deal with and influence place names like Li Bai. There are several kinds of relationships between place names in Li Bai's poems, which are more complicated. We can find almost the same place name relationship with Mao, which lies in Du Fu. Du Fu's masterpiece "Wen Champion Official Accepts Yu Ji" concludes: "Come back from this mountain, pass another mountain, come up from the south, and then go north-to my own town! "The same four place names, the same time sequence, and more dense, only squeezed into two sentences. It seems that Du Fu is very strict with himself. He not only wants to loosen the existing rigidity, but also insists on using the most rigid arrangement to create the effect of quick flow, which is just in line with his carefree victory and urgent mood of returning home. His method is very simple, that is, to point out the inheritance relationship with the words "Qi, Tong, Xia and Zhi". He deliberately chose the place names with the words "Gorge and Yang", which strengthened the rigid side more and more; As long as you have the ability to make rigid things flow, the greater the rigidity, the more prominent the flow, and the rigid energy will be added to the flow. Just like a war, as long as you can win, the stronger your opponent is, the richer your gains will be, and all your opponent's grain, grass and guns will be swept on you.

The four place names of Mao's poems are completely parallel, and there is no mutual understanding between sentences and places, which also has a consequence: the poems have not been promoted or transformed, but just circled in the same place, as if passers-by had met a ghost. When reading Mao's other works, I encountered similar impressions to varying degrees, which made people feel that Mao's writing was too dull and lacked a sense of depth. Talking about the Long March alone, beating around the bush like that, will aggravate the rigid energy. Moreover, he squeezed four place names in the middle of the couplet, especially as an omission. The two couplets of metrical poems have to confront each other. This form of meter is very rigid. Instead of trying to avoid the weakness of metrical poetry, Mao made it worse. Mao's two couplets are dense and crowded. Without the adjustment of function words, it is not only worse, but also the frost and snow solidify into ice, which affects the vivid sense of change. When Huang Tingjian writes metrical poems, he often makes them more fluent and endless. He realized that the opposition between the two poems would bring about congenital fetal diseases, so he tried to remedy it the day after tomorrow. Mao looked down on the Song people, perhaps because he could not see the sufferings and benefits of the Song people.

Mao wrote the couplets in the middle so thick that they were insoluble and inseparable, and the board could not be dug. In contrast, the first and second couplets are getting thinner and thinner. The meaning density of the first two sentences is very small, because the next sentence just repeats the previous one. The couplets at the end are also sparse. When reading, we are under the same pressure as the two couplets in the middle. When the pressure at the end of the couplet is removed by violence, our hearts will stumble, and the more we feel that the couplet at the end is light. Of course, some people may say, let's suddenly float at the end of the combination, which is exactly what Mao wants. What he wants is this effect, which makes him feel relaxed when he completes the March. Everyone has his own opinion. I don't refute, just point out that this view can't excuse the clumsy stagnation of the two couplets in the middle. Taken together, the two couplets in the middle make the whole article not very balanced. In the ancient tradition, the conventional seven-method method always focuses on the middle two couplets, and it is easy to write the first two couplets and the last two couplets weakly. I remember a modern man-he is a painter or calligrapher, and he can also write old poems, but unfortunately his name has been forgotten-he told himself about his experience in writing old poems, saying that when he made metrical poems, he first made the two couplets in the middle, and then made up the first two couplets; This example shows that the author despises the first and last couplets, from which we can see the extreme influence brought by the writing tradition, and at the same time expose the possible disadvantages of this tradition; Things always show their true meaning in extreme cases. The formation of this tradition has natural roots in rhyme and meter, and it is too difficult to be a Zhonglian, forcing everyone to pay attention to Zhonglian involuntarily; Once these two links are done well, the effect will be very outstanding, and everyone just wants to sell them there. This tradition will also affect the reading psychology, so that experienced readers are not sensitive to the weak situation of the first and second couplet when reading, and most of them are regarded as normal. Therefore, under this tradition of writing and reading, if Mao does not take the lead in naming, and the middle does not appear to oppress the beginning and end, the problem of balance can be ignored. Unfortunately, Mao has too many couplets. If you close your eyes, it will make a hole and open your eyes. There are so-called "phoenix head, pig belly and leopard tail" in the common language of the article, and Mao's poems really look like a full pig belly in the middle; As for the head, it may not be necessary to call it "earthworm head" by borrowing the so-called "earthworm head and mouse tail" in the book "Disease", but we finally feel that its tail is a bit like the snake tail in "anticlimactic".