The all-china scroll
Text
The old bush of the dead。
It's the bridge。
Old dow west slimy。
The sunset is west, the intestines are in the world。
♪ all-round ♪
Introduction by the author
Ma jiyuan (1250-1324), no. Toshik, from grand duang (today, beijing). With guan han, park, zheng gwang-jo, also known as "the four songs" and "the ones."。
Today there are only seven of the 15 types of imprescriptive acts, namely, han mong autumn, red shirts, red shirts, yueyang house, chen zheng qiang qiang, i am a madman。
Today's series is a volume of east fence, a series of 115 orders and a dozen sets of them。
Liu li's ma's faraway school note is now a better book。
Word notes:
1. Clean sand in the sky: the name of the scooter, also known as " the autumn " 。
2. Pork: crow. The crows appeared at dusk, so they said。
Analysis of works
This article, dubbed the “face of autumn in music”, has a profound metaphor, in which the intestines of the waves are typical of the status and claim of belonging to the marginal linguists of han, with their profound identity and cultural void。
The cultural void is rooted in the general loss, failure, vanity or void that manifests itself at all levels of culture, such as lifestyle, cosmic patterns, value systems, ethical paradigms, psychological structures, aesthetic manifestations, etc。
Following the establishment of moon yuan, cultural decline was caused by the rejection of the han culture and political system。
The great majority of han scribes feel deeply that they have been shaped by the heritage of traditional culture and social values, and have become lost bystanders of the times, and that the ideals of the rule of the country have been dashed。
The superiority and prejudice displayed by the monjong dynasty have further exacerbated the sense of vilification of the chinese people。
The chinese people had to face the cruel reality of continued political, cultural and other marginalization, and the repositioning of their role had been plaguing them and placing them in serious “identity anxiety”。
On the one hand, they return to the hidden mountains and abandon their interests; on the other hand, they cannot forget the aspirations of the community, showing the complex and inaccuracies of identity anxiety。
In the case of the mandarin, when placed collectively in a political and cultural environment created by different ethnic groups, “identity” becomes an important issue that must be addressed but which is extremely difficult to resolve。
As a group of han poets, they are destined to wander and migrate forever, on a continuous journey of painful and helpless identity inquiry and confirmation。
“on the road” is a symbol of the destiny of this group at a given time. The authors had to take away the glory of the “national responsibility” of the “social elite” and accept the new identity of “vagrant children”。
As a result, their drifting is particularly bleak and sad, the “old” tree “old” tree “an old wind” heralds the hardships and risks of the drifting path, and the “road in the sky” is destined for an unpredictable future。
The work reinforces the survival anxiety of marginalized chinese, predominantly han people, who become “breathbreakers” as the destiny of han writers who are oppressed by identity anxiety in this cultural void。
The significance of this is that, in manchuria moon, hu ming stated, “maybe not in the poetry itself, but in this moribund emotional prototype, in the image of the poet of the fall wind
And the “swazi mind” is not just a memory of the homeland, but rather the desire of the ingenuity of the ingenuity of the ingenuity。
It is on the basis of a profound experience of real life difficulties and an infinite sense of regret over life time that the horse’s axieties – the self-righteous, self-preservation, and self-pity – keep the meta-synthetics in the shadows of their culture。
