Sword and the flute: the spirit of southern culture, the double deduction

Editor's Note: South regional culture was born, and continued in the Yangtze River Delta region in the entire territory of the Chinese culture occupy an important position. Chinese Cultural Center with the gradual southward migration, the Jiangnan region and culture ready made, come from behind. In modern times, it is sea with the wind, leading the fashion, to achieve the transformation to a modern history, its unique spirit and innovative vigor of the opening drive of Chinese traditional culture to modern world.

In view of southern culture and historical contributions and practical significance, the newspaper ad hoc "South Cultural Forum" section, to cause widespread concern in academia and in-depth discussion, and promote South and Chinese cultural studies academic innovation, we welcome active participation of experts and scholars.

Although the South regions are often in the territory of "Big South" and the "South", "small Jiangnan" swim among its core area in the lower reaches of the Yangtze River Delta region. Roughly bounded by the Six Dynasties, south from the edge toward the center of culture and of conflict with the Central Plains culture and blend in, not only by Wu Wen emerged from the historic transformation of just the soft, but also Wu Yiwen completed, will just have soft historical reconstruction. In particular, I would like to quote repeated in the descendants of Wu and Yue, Qing Dynasty poet Gongzizhen poems in the "Sword - flute" dual image combination, with a view of southern culture on a new spirit of exploration and re-release.

Qing dynasty, three years (1823), Gong Zizhen was "Man flu" reciting the poem: "The field army must count Wang Ran, Southeast Youhen full term of inactivity. A flute a Jianping business, fifteen years of negative do crazy name. "Responding to the author and the southeast coast of the northwest frontier of the crisis, hold deep depression and grief, to sing his own sword in the army, but doing nothing Kangkaibeige poetry obsession. Can say, "Sword" and "flute" is frequent in poetry in Gongzizhen a core image, such as the "Hunan months' words:" complain to the flute, mad for the sword, and two ecstasy taste. "" Ugly slave children that "words:" Meditation fifteen years in the matter, it has vertical and horizontal, vertical and horizontal tears are double flute heart and sword were negative. "" Autumn Heart three "one poem:" He who the sword northwest cold air, the sound filled the southeast several flute. "," Yi Hai Miscellaneous Poems "of ninety-six:" Youth fencing more flute, Jian Qi Xiao heart one case of cancellation. "" and repent heart a 'poem: "to be any rough scenes, to still lingering can pay the flute. ", and so on. And the "sword" is linked to heroic, masculine, bold ... and the flute is linked to spirituality, feminine, graceful ... "sword" metaphor vision, "xiao" Yu poetry soul; "sword" metaphor wild, "xiao" Yu lingering, which constitutes the Zhuanghuai patriotic poetry of Xiao Jian Qi and times past the heart of the wonderful combination. With the modern descendants of the poet Liu Yazi Yue has deep respect for Gongzizhen its "Poetry three quatrains," said that: "Three first-class centuries, the ancient swordsman Feixianguan no chou. Zhichou solitary flute negative spiritual meaning, driving south moor a boat North to old age. "(" Poetry three quatrains Dingan set ")," a flute sword, "which reflected the light of Wu and Yue culture, good sword death blood revenge of the martial spirit -" the sword "spirit, and South Another kind of spiritual culture - "xiao" in the spirit of the combination, best for the two poets to explore in depth the core identity secret Heartsongs, but also contribute to a better grasp of the spirit and Analysis of southern culture double interpretation.

From beyond time and space but time and space-based multi-dimensional perspective view, "the sword" and "flute" - southern culture and the spirit of the two re-interpretation of the main show for the first "sword" after the "flute" Southern "Sword" North "flute" , within the "sword" foreign "xiao" three forms.

First "sword" after the "flute": the cultural spirit of the historical evolution of South

Wu and Yue culture originated in southern culture, originally from the South "Bai Yue" family of Wu and Yue created by a two tribes of indigenous culture, its first "sword" after the "flute" of historical evolution, and the two key time on the node. The first time the node is Spring and Autumn Period. Wu, Vietnam and Asian countries and the battle between each other, and finally to one of "Five Hegemons" list, both nations began in the Western Zhou Dynasty of Wu and Yue culture of the rapid rise and bear an important symbol of glorious achievements, and thus establish the Wu and Yue culture Epee light dead, blood revenge of the martial spirit - "the sword" of the spirit of the core. Whether Fuchai forget his father's hatred of the three years reported more or Goujian of hardships, revenge revenge; both paladin Zhuan Zhu to leave the death-defying, Yong die hard, or on the "sword of the king Yue Jin Ge" all the records and legends, will light epee Yue people dead, blood revenge martial spirit on its head. From the Spring and Autumn Period, Wu and Yue sword industry is highly developed point of view, is hidden behind the powerful and the good folk of the death of martial spirit light sword, the sword industry developed because both need the support of craftsmanship, but more folk still need a good incentive. As of Wu, Sun Wu, Fan Li, Wen and other kinds of outstanding military strategist, strategist convergence Yue, left for future generations, "Art of War" and the classic case of many military, martial spirit is the embodiment of Wu and Yue culture.

The second time the node is the Six Dynasties period, by the "Yongjia of chaos" caused by a large wave of immigration the rise of the north, and the subsequent Jinshi crossed, capital our health, the first time in Chinese culture, north and south axis of the transfer. Wu Yue local culture and the Central Plains in the immigration of cultures and reconstruction process, from the Wu and Yue culture of the southern regional cultures emerged from the Wu Wen, from major changes in just the soft, that is, by the "sword" and "flute" in historic transformation. Chen Zhengxiang Chang Wei Jin at the end "Yongjia Rebellion," Tang Dynasty "Rebellion", the late Northern Song "Jingkang difficult" for the cultural center of south China forced the three waves (Chen Zhengxiang: "China's cultural geography", Beijing: Three Union Bookstore, 1983). If the first waves marked by the birth and development of the ancient Wu and Yue culture for the new southern culture, and the "Sword - flute" spiritual transformation of the initial completion, then the subsequent two waves that is constantly moving forward along this direction to the end of a foregone conclusion after the Southern Song Dynasty.

South "Sword" North "xiao": spatial differences in the spirit of southern culture

Also the cultural spirit of the South "sword" also "flute" of double interpretation, the first time with the "sword" after the "flute" echoes the historical evolution in space is presented to the South, "the sword" North "xiao" in geographical differences.

Wu and Yue as "Bai Yue" the two branches, geographical proximity, shared language, cultural blending. "Lu know of," says: "When a man of Wu and Yue also, then adjacent soil environment, soil transport is, the same customs, speech communication." "Wuyuechunqiu Fusako within the mass," says: "Wu and Yue, homonyms of law, the co-stars, the next a total of reason. "" The more must book "Yiyun:" Wu Yue as neighbors, with the vulgar and earth "," Wu Yue two states, with the air of vulgar. " Therefore future generations to Wu, the more the culture and known as the Wu and Yue culture. However, in terms of analysis, comparing the geographical features of South Vietnam, North Wu, the more places mountainous, relatively closed; Wu and more water, relatively flat, so calm and slightly Wu folk, and more to morals is more powerful. Then the terms of cultural relations with the Central Plains, North than in South Vietnam and the Central Plains Wu closer geographically, but also more vulnerable to the Central Plains culture and influence of radiation. Weeks old son of the parent company Dan Talbot, Ben Wu Yong Chung chose more than Ben, was clearly based on the geographical and cultural factors into account the results, and this in turn has a huge Wu culture and far-reaching impact. Han Wujuntaishou Elk Leopard "Tabor tombstones in mind," Chan said: "a number of years, people Yan Fu, enlightenment peace and order. Southeast, music, real primordial Yan." 544 BC in Lu Ji Zha was ordered to make, in the view of Lu Music shows the extraordinary musical accomplishment, but Wu blending cultural interaction and the Central Plains and the impact of a typical performance by the latter. View more from the Wu, the more ground in terms of geography or culture are further from the Central Plains culture, "Lu haphazard article" contains: "Angels see off the more there is to blow the king, feather, horn, Gong, Cheng, Shang not Miao, Yue poor, for the wild sounds, and the anti-good. "Also, according to" more must book "contains: Gou Langya moved the capital to an audience after Confucius, as described Five Emperors Three Kings of the Road, Gou grounds decline with thanks to the different customs. This shows that the more countries pay more attention to local culture, and more stick to their own indigenous characteristics. So relatively speaking, more than the Wu culture more by the Central Plains culture and cultural influences, which also shows the spirit of Wu and Yue culture later in the differences with China. Which is also "sword" also "flute" in the double combination and interpretation, the Wu "xiao" rather than "the sword", and the more the "sword" rather than "flute."

Within the "sword" foreign "xiao": the spirit of the common characteristics of southern culture

Whether it is the first time on the "sword" after the "flute" or space on the south, "the sword" North "flute", and the spirit of the common characteristics of southern culture, the most central is that of "the sword" foreign "flute."

Spring and Autumn to the Six Dynasties, the cultural spirit of the South done by the "sword" and "flute" historic restructuring, also achieved within the "sword" outside "xiao" historical reconstruction. So apparently, is the "sword" one to "flute" from "flute" instead of "sword", but in fact, is the "sword" of the value of the division, within the "sword" outside "xiao" spirit reconstruction. Six Dynasties period because, despite the occurrence of southern culture by Wu Wen, from major changes in just the soft, but the local culture originated in ancient Wu and Yue's epee light death, blood revenge martial spirit as a spiritual gene with the prototype, along with the whole family Lu, the king, Gou, of Wu, Sun Wu, language, Fan Li, Xi Shi, Zhuan Zhu to other historical characters and stories from the still from generation to generation, something that interrupts. In particular, whenever the occasion of social change in the situation, the martial spirit of this gene and the prototype will be quickly activated and burst out of dazzling brilliance. Wu and Yue culture from the Six Dynasties period to the southern culture of spiritual evolution, is also more "sword" also "flute" in the double combination and variation in the concentrated expression of "the sword" outside "xiao" common characteristics, but because people Because of time, of various shapes, either explicitly or implicitly, or micro or macro, or weak or strong; or emphasis on the "sword" of the spirit, or the emphasis on "xiao" spirit, or the harmonious combination with each other.

Professor Xu Maoming interpretation of Wu culture "soft on the outside on the inside", that implies a more refined appearance under more intense deep "just" culture of personality - the culture of investment, the Confucian "self Qijia rule world "ideal pursuit in the nation from peril of the occasion showed unwavering national integrity, political corruption, the country is on non-age passion, in the economic sphere of the pioneering spirit, and so on (Xu Maoming:" On the Wu Culture characteristics and causes, "" academic issue "1997 No. 8). Indeed, aside Donglin, complex social groups, scholars fought against the tyranny of the clank steel frame, even if Zhu Yun, Wen Zheng-ming, Tang Yin and other southern wit, but also Huayan aloof, proud and which has a strong anti-tradition, anti-authority awareness . This is within the "sword" outside "flute", like "xiao" real "sword" also. Culture in Vietnam, from Goujian Revival, blood revenge martial spirit genes more active and more powerful. Shaoxing Yue, especially in modern times, Cai, Zhang Binglin, Xu Xilin, Qiu Jin backbone of the organization and a number of Restoration secret assassinations, riots and other forms of armed anti-struggle. All this should be mainly attributed to age-specific incentive situation, but they can also hear the faint echo of ancient Yue's martial spirit.

In the end of this article, I would like from the ancient and modern, Chinese and foreign mutual introduction of the concept of the dual point of view the case of two quite charm as evidence: First, the beam Jingnan, Yao Cheng Wu and Yue culture will be attributed to "intense" and "watered down" two different human spirit that Lu Xun and Zhou as a representative figure of modern literary history, as in the same environment, under the influence of culture, the brothers grew up, due to personality differences, causing them to Wu and Yue culture "intense" and "dilute "two different cultural heritage and the spirit of the absorption difference, thus forming the different text for the man (beam Jingnan, Yao Cheng:" fierce "warriors" and dilute the "celebrities" - Lu Xun and Zhou for the spirit of Wu and Yue culture different heritage "," literary criticism "2004 No. 3). This case also with the spirit of southern culture "sword" also "xiao" cross-checked, each concept is due to ancient and modern innovations. Second, U.S. human culture scientist Ruth Benedict's "Chrysanthemum and the Sword," a book of "Chrysanthemum" and "knife" summed up the spirit of Japan's national culture, has attracted Japanese scholars and scholars of the world's human attention. Indeed, in the Japanese culture, "Chrysanthemum" and "knife" and the southern culture "Sword" and "flute" between the spirit of the double combination, there is a clear difference between the original, but this can not simply equate the two, but considering the to the history and relationship between the two, and each geographic proximity factor, then the specific terms of foreign inter-view perspective, more "sword - flute" and "knife - Ju," the differences with China, with differences in the same can derive a lot of inspiration.

Meixin Lin (Author: Zhejiang Normal University, Jiangnan Cultural Studies Center)