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The Ninth Day of September is a philosophical paper by Mu Xin, which was included in the corpus "Colombian Reflection".
The first time I read this article, I just scanned it, and I felt that the wording was refined but a little obscure. Although the writing is fluent, the theme is not clear. At that time, I was not interested in Mu Xin, so I gave up.
Looking back at this article, it seems that after reading a wonderful comment by Mr. Tong Ming, I suddenly became enlightened. My previous vague understanding of wood heart gradually became clear, and I also had an epiphany on how to appreciate such a style that exceeded my reading experience for more than 20 years. Mu Xin's rhetoric writing and poetic thinking hide strict speculative logic under the aesthetic expression of perceptual leap, which makes me accustomed to gradual linear thinking always confused and confused in front of his articles. Mu Xin's article is like a glass of hard liquor to me. If you swallow it in one gulp, you will get indigestion. You can only take it back and taste it slowly. This article "The Ninth Day of September" was tasted three or four times before it was "getting better".
The article begins with a concise statement, pointing out the theme directly. "China's" Man "and China's" Nature ",since the Book of Songs, the poems of Chu, Han, Tang and Song Dynasties have been expressed in an equal and thorough relationship. Their joys and sorrows are also vented to nature, and their worries are also told to nature." So I know this theme is about the relationship between man and nature. But what kind of relationship is it? This topic is also quite old-fashioned, depending on how the author writes new ideas and profound meanings.
The following two paragraphs are in one go. From the poem "Three Hundred Poems" to the Tang and Song Dynasties, the author points out that everything between China ancient literature and nature is too greasy and inseparable, and it is impossible for a scholar to make a sentence without mentioning "nature". This unique strange phenomenon can no longer be explained by simple "comparison" and "xing" Philosophy and religion seem to be no better: Confucianism only uses "nature" as an excuse for incompetence; The natural view of Gezhi Neo-Confucianism fell into the magic path of utilitarianism; Buddhism has no "sex" at all; Only Taoism can be regarded as "almost natural"-think about the final destination of Laozi. Taoism seems to be the closest to art.
The following paragraphs are wonderful. First of all, it is the wonderful "misinterpretation" of nature by human beings: wild fruits grow at will, but they have to be said to be orchards endowed by nature to human beings; The river has no intention of running, but human beings should praise it for "enriching the earth" . . . . The achievements of a series of manual labor are attributed to the generosity of nature. Without exception, the homesickness of China people haunts the hearts of China wanderers in foreign countries. Seeing that foreigners are people, mountains are mountains, rivers are rivers, from spring grass to baby moon cakes is obviously one thing, but it feels wrong. The reason is that foreign nature and people lack the emotional bond of "harmony between man and nature". Can other countries with short history bear this spiritual blood which originated from the profound cultural soil of Chinese civilization for thousands of years? The homesickness complex that goes deep into the bone marrow permeates the emotional dependence of China "people" on China's "nature" everywhere. The so-called "how bright the moonlight is at home!" This has been the case since ancient times.
Later, the viewpoint put forward: "China's' nature' and China's' man' are combined into a ubiquitous spiritual code. Instead of using the vague and ambiguous rhetoric that "man" exists in "man", it is better to say that "nature" has "man". A series of beautiful sentences were thrown out, "whoever wears flowers suits him, the ravine of his life has the charm of that person, just like clothes have the temperament of attackers, and old empty shoes have feet." " .。 . . Heaven and man are one, who will "combine" with whom? People add their subjective feelings to nature, and everything in the world seems to be branded with people. In the streets and alleys of ancient nationalities, layers of humanistic images can be seen everywhere. It seems that where there is a corner, there is a legacy of history. However, none of these can save its "brilliant and tattered whole". No matter how difficult the times are and how bad the national luck is, nature is "going to the river on a clear day and always caring for the people there". Whenever a catastrophe begins, people forget their own sufferings and continue to indulge in mountains and rivers. Many disturbances in the world are fleeting and have nothing to do with nature. Anyone who is lonely, depressed, depressed, hesitant, mentally or physically exiled by the world can find a place to live in Yunlin, Shan Ye. In the final analysis, nature is the ultimate destination of mankind.
The original text is tepid and eloquent, but it is thought-provoking after careful reading: the above-mentioned closeness to nature is not only wishful flattery, but nature has always existed independently of human society. Furthermore, life itself is disobedience to the will of nature. Xunzi said, "Heaven is always there, not for the existence of Yao, not for the death of Jie." . The cunning and promiscuous China literati always personify, conceptualize, empathize and eulogize the "natural" things according to their own will, so as to achieve a high degree of harmony of "harmony between man and nature" in literature and art-essentially a "self-centered" thinking. For these things, "nature" just smiled casually: let you fool around.
Scholars in China have always been good at observing and perceiving nature with perceptual and aesthetic intuition. Take painting as an example. Since the Han Dynasty, China's landscape paintings have always been freehand brushwork, with virtual reality and reality. Only a few people are hidden in the lakes and mountains, but the beauty of nature has been spread out for painting, even if it is only inked, it has a different charm. The meticulous brushwork in Tang and Song Dynasties is dominated by flowers, birds, insects and beasts, and its brushwork is extremely delicate, almost equal to that of the western realistic painting school, but its subject matter is limited. Painters or painters have always been only interested in nature, while portraits with human subjects are dwarfed. It is precisely because of this that China painters have reached a new height in describing the charm of natural landscapes, with a broad view of the world and few opponents; But the description of "man" itself is sloppy and perfunctory. Although the pictures of palace ladies in past dynasties are quite amorous, they are relatively thin compared with the fleshy and vigorous portraits written by western masters such as Raphael, Bochetelli, Caravaggio and Rubens. In terms of music, although most of the scores are scattered, some of them are well known, such as: Running Water in the Mountains, Moonlit Night on the Spring River, Wild Goose in Pingsha and so on. Even the names of songs are stuck with "nature". Maybe it's because it's so "natural" that everyone plays the piano and sings for themselves, but they haven't formed a complete theoretical pedigree, and even ancient musical instruments have finally retired. There are countless similar examples in poems and songs. It goes without saying that The Book of Songs and Songs of the South first created the lyrical atmosphere of classical poetry. Nineteen ancient poems in Han Yuefu, each of which begins with praise for the scenery. Poetry in Tang and Song Dynasties can be described as the pinnacle. Mr. Wang Guowei euphemistically revealed that all scenery words are love stories. The ancients' deep affection for nature can be seen. From this, Mr. Tong Ming interpreted the hidden argot of the author, that is, the difference between the "natural standard" of China culture and the "human standard" of western culture, and extended it to the grand proposition of "human awakening". The "nature-oriented" culture, which puts too much emotion into nature, makes China people ignore and suppress their own will to life. Although a unique and eternal civilization has been brewed, the soil of humanism cannot be cultivated. 14 and 15 centuries China and Italy were far apart, but there was no telepathy. I'm curious why the overseas trade of the Ming Dynasty was so prosperous and developed, and why didn't a fresh breath of ideas come in? If the court artists in China at that time were lucky enough to see the female portraits in giorgione's or Titian's works, it is estimated that their frightened eyes would fall out. When I think like this, it is only for humorous teasing, but it is also refreshing.
The topic is beside the point. Let's get to the point. China literati's inseparable attachment to nature is vividly reflected in all kinds of literature and art, but what is it in reality? In the next paragraph, when the pen is turned, cynicism comes as scheduled: "Goldfish and chrysanthemums are all" variants "of human genetically modified animals and plants. It is human will that replaces natural will, and it is people who hypnotize nature. China people's patience and cunning hobbies are moderate and extreme, so far. It is not easy to need something new for thousands of years, and the trouble-free industry has done one thing after another. The symbol of depression has never won the origin of depression, which makes people look down upon it. "
Thoroughly
China people are eager to transform nature, but they forget what they really need to transform-old empty shoes have feet: "feet" are often updated, but "shoes" are still old. The moral here is clear and really clever. The decline of ancient civilization originated from this. However, decline is also different: ancient Greece declined, but its spiritual lineage was inherited by Macedonia and ancient Rome. After the long night in the Middle Ages, it accumulated energy and waited for the opportunity. At the end of the Renaissance, it was discovered again. Today, European civilization is the result of its re-flowering after thousands of years; And what about ancient China? Formally, it has continued until now. The old shoes of the system have been worn for thousands of years, and they are reluctant to throw them away, but the owners have changed from generation to generation, but they can never jump out of the bureaucratic circle. In sharp contrast, the "old shoes" of the ancient Chinese civilization have long been discarded in the turbulent disputes of history, and the "new shoes" are not suitable. They just walk barefoot. By contrast, it's ridiculous.
The last paragraph is quite interesting. Melons, vegetables, fish, shrimps and flowers as small as China, and mountains, rivers, Yuan Ye and dense forests all seem to belong to the category of spiritual wisdom. It seems that getting along with people day and night has infected them with aura, and they can share joys and sorrows with others, all of which they realize. However, "naturally, I don't agree with whitewashing, and I am afraid of exposing people's scars. Naturally, I make it clear every time. " It can be seen that human beings are painstakingly pretentious and hypocritical. Naturally, they just look on coldly and are by no means accomplices. Moreover, every key node naturally makes mysterious predictions and warnings about the rise and fall of history in a tacit way. The ancients knew people by observing the astronomical phenomena. According to various historical records, whenever a dynasty changes, history will be in trouble, the sky will often be different, and the changes of clouds in the stars all imply bad omen or good omen-whether this is just a fabrication of imaginative ancients is unknown. All the wisdom of the people in China has been dedicated to nature. In ancient times, Fuxi viewed heaven and earth and created gossip. Later, it evolved into Zhouyi, which is almost all-encompassing and omniscient. Sima yi looked at the stars at night, knowing that Kong Ming's luck would run out; Nian Gengyao praised the astronomical phenomena, only sighing that things were extremely out of harmony. There is truth and falsehood in history, and literature emphasizes rhetorical exaggeration, omitting the part of doubt about authenticity, and can also see the close relationship between ancient people and nature. There is nothing wrong with this book, but it has gradually deviated since it entered modern times. Ancestors also know to respect nature and adapt to the weather; However, young people who are eager for quick success not only abandon the "dogma" of their ancestors (they have always been good at it), but also do the opposite-people are indeed cunning and fickle animals. Although they were intimate before, they turned their faces and denied "nature" in just a few decades.
If we go on talking, it will inevitably involve some gloomy past events. It is reasonable to transform nature. The faint light of ancient civilization did not go out in the vast Yuan Ye, because it relied on the survival experience and laws explored by generations of human beings in the long process of dealing with nature to achieve success today. Get carried away is self-proclaimed "master of nature", the tone is quite big. However, it must be remembered that the laws of human society are subordinate to the laws of nature. Heaven still has to follow, otherwise people's hearts may not be smooth. Naturally informal, people can move their hands. However, if we let our temper run wild and think that we can treat nature as an avalanche of romanticism like literature and art, the consequences can be seen in a modern history of our country. Natural sentient beings, vote for papaya and report me with Qiong Yao; Nature is ruthless, throwing arsenic at it and returning poison to me. The reason is that simple.
In two days, I wrote so many words in succession, all because of a composition. Thanks to Mu Xin's brilliant pen, I was able to sort out my scattered thoughts between busy daily affairs. Let's call it "miscellaneous feeling". Let's practice writing a little. Let's talk about it.